The in-between is part of my artistic and cultural identities. I practice dance and visual art by questioning: how to produce a visual experience, through a performance, in an inhabited and imaginary architecture? And, for what cultural exchanges and common places?
Performance means, for me, the encounter of the consciousness of the body with the consciousness of space; And with this awareness the possibility of creating volumes, plans, lines, extensions of movements.
We constantly measure space through the memory of our kinesthetic experiences. The time we take, the energy we spend while crossing distances between parts of our body and our body itself to the external environment. At all times, we measure our ability to meet our needs or escape danger. Art can enable us to read and perceive these automatic and unconscious mechanisms. In my performances, drawn lines are an absurd and humorous attempt to make us read these mechanisms. In this sense, I use the size of my body and that of my hair braids as graphic elements and units of measurement of space.
This preoccupation with measuring the body to its environment is a permanent concern of humanity. It marks our whole history. It can be seen as much in the history of mathematics as it is in art or dance.
But what matters most to me in my performances is their size, with their dimensions located and open. I act in relation to a space and an environment. I build according to the architecture and the objects that make up the place in which I intervene.
I do not maintain a stage relationship but an open and interactive relationship with the visitor. Sometimes I speak to him and act silently according to what he says or does.
Finally, what remains of the performance once it is completed? A drawing stand, an object, a sculpture, a photograph, a video, a sound, an entire installation? What remains of the body in the traces left? These questions are at the heart of my current concerns and have found their manifestations in many of my productions.