Daily observation and listening to my environment constitute the starting point of my sound works. I appropriate the phenomena that catch my attention to create installations and sculptures that question both the exhibition space and the perception mechanisms of the viewer. From there, I operate a contextual diversion of the materials and objects that I use, in order to reveal their sound qualities, to create new hybrid sound objects, and to build a favorable listening environment.
Field recording is a major part of my artistic practice. It is the strongest way for me to remember the places I visit. I come to aspirate sounds in the manner of J.G. Ballard’s debruiteur.
Upstream, I collect objects, for their material, their form, their way of resonating and use them as sound alterations that come to act directly on the compositions that I create. These installations, constantly juggling between sounds and objects, become representations of the auditory field; prolongations of the human body, they systematically guide a viewing posture for the viewer. In some cases, appendices for listening amplify and modify our perceptions.