I never fit anywhere. My language was the one of the body, I was ‘talking’ to objects through gestures as Pina Bausch incorporated objects into dance. I started to paint pretty early. I must say that art saved me at a very young age. My paintings opened a place for me at the BA and I first began to experiment with objects through filming in a non-traditional way.

Objects can play as ‘extensions of the self:’ an emotional tag attached to them – according to who gave me the object or the moment associated with it, it’s movement or intuition. To explain this, Annabelle Gugnon made an interesting reference to John Cage talking to Oscar Fischinger (director of Merce Cunningham Dance Company) about the spirit to be found in every object in the world. “The object has to be touched in order to release its spirit and to liberate its sound. This is the idea, which led me to the percussion. I never ceased during all the years following this encounter to explore the palpation of objects, to bring them into resonance, to find out which sounds they contained”.

The memory circuits are those of the people recording/performing them. I’m always worried about forgetting an object, therefore, when one around me is likely to become obsolete or is lost in the stream of our lives, I memorise it with thread before it happens. I create new physical relationships to objects and spaces that allow me to ‘memorise’ objects and architectures. I speak of ‘memorisation’ because the process is a way of drawing memory circuits in a physical movement around objects. I believe that my practice is simply a physiological response to the digital world, saturated with information, in which physical and digital memories are merging.

Indians from Sierra Nevada in Colombia are the guardians of nature. Their constructions, symbol of the cosmos and the body, reflect the social bond of the group that built it. From their philosophy up to their weavings, they generate an energy to ‘rethink the world’ and that’s what I am after.

To me, they become a reference point in time and space and transform themselves into sacred objects or surfaces as they have been charged with the rituals of the performances.

My works are resulting from performances. I like to push repetitive movements as far as possible through specific gestures, rhythms, sounds, etc. My body is just a tool that art commands/calls/dictates.

The two ensembles of sculptures are both ongoing series. Their connections result in the repetitive movements that trances have been generating in the making. For Body Itineraries, the abstract patterns have been made out of the body itineraries around each square. For Cables Data, the body ‘itineraries’ will be made in the void, directly in Den Frie’s central space calling different movements and body postures until the soft sculpture takes shape. They are both spreading the message of the importance of the physiological interaction with the world. According to Pascal Picq, human decline won’t be the cause of AI but of human muscular and neuronal passivity.

It’s a fact that humanity has shifted into a new era. We are only at the Stone Age of this technological evolution that is already changing all models – economic, societal, ideological and physical. The world becomes more and more immaterial and it is essential for me to keep track of a contemporary humanity that is at the edge of transhumanism. Without nostalgia, I question a time in which the very nature of what it is to be human is simultaneously enriched and challenged.

I am currently preparing a very large sculpture for the Atelier Calder in France and several new series of performative drawings for a personal exhibition at Waddington Custot Gallery London.