My practice is built upon a single principle called ‘contexture’: I compose contextures out of textures.
The word ‘contexture’ refers to an object seen as the moving interrelations between its elements (for instance the contexture of an organism). It was historically superseded by ‘structure’ which considers discrete and generally static elements.
In my practice, the notion of contexture also questions, transgresses and merges the aesthetic, ethnic, cultural, social, technological and historical contexts in which art is created and shown.
The textures I utilize range from fabric or pixels to text, paint or rituals,as I view materials, practices and concepts as a continuum.
They include history (including world art history and its artefacts), contemporary urban narratives and symbols, the figure of the artist (as antipersona), painting, machined steel, seashells, electronic music, social representation practices, video, etc.
I mobilize concepts, practices, images, sounds, objects, etc. of diverse origins, eras, and uses and process them through remixings, mètissages, bricolages and/or randomizations. The resulting artworks often happen spatially as interconnected series within a transmedium approach.
As for context, I aim at creating individual and collective participation, for instance through collaborations with artisans in some works’ production or in the modalities of exhibition or installation that allow the public to experience the artworks.