How can we highlight the fictional part of what we consider natural? How to look again, with new eyes, as a newborn? A hair on a head does not disgust, whereas an inch on the floor disgusts. Once, a fascist told me, “some codes are here for a reason”. I wonder what that reason is.
My grandpa’s ear is huge. I imagined three tongues penetrating each orifice and immortalized them in a video. I create unusual situations in everyday life that make us see head-on what exceeds convention and overturns normative frameworks. I question codes through the relationship to the body, my grandfather's ear or my grandmother’s feet. How can we rewrite the genesis of the world's organization? Mental and visual exercises can help avoid prejudice. Making new connections in the hope that individuals will begin to make those connections.
My process is a non-circular digestive loop. What do you do with it when you take matters out through an orifice? My writings are a gateway to worlds where a yogurt becomes a sacred relic, a centaur toilet is a deity, a tofu cuddles the stomach from within, and someone has orgasmic eyes or cow udders on a tongue. The body is capitalized on, ambiguous, suffered, and/or liberated.
I mix mediums such as sculpture, painting, writing, digital collages, video, and performance. I collect teabags, books, pictures of toilets and feet, fake ears, my hair, and coffee and use them to make collages. When you assemble images, what does it provoke? The simple fact of moving an object to another place creates prejudice.
L'artiste se sert du collage comme d’une méthodologie de travail appliquée à différents médiums (image, texte, sculpture). Des associations inattendues ouvrent sur un univers à la fois sensuel et drôle. Le travail exprime ainsi de façon décomplexée un flux de pensées, en restitue les transgressions, les fantasmes et les rapprochements souvent inattendus.