Metasynergy

The term “metasynergy” combines two roots: “meta,” meaning “beyond,” and “synergy,” the combined action of several elements.
My artistic process brings together a sensory environment—image, light, sound, and space—research on perception and states of consciousness, and the participant’s attentive engagement, to create an experience that is more than the sum of its parts. The overall effect is not the result of an accumulation, but emerges from the interaction, tension, and harmony between these elements: an amplified synergy in which an experience of a different order may arise.
Metasynergy explores states of consciousness that we all experience, sometimes briefly, without always recognizing them: moments of intense concentration, contemplation, or creative absorption. These states belong to the potentialities of human experience. They appear and dissipate depending on circumstances and the quality of the attention engaged.
The aim is not to provoke an effect or promise a change, but to open a space where these states can be recognized, inhabited, or simply experienced. Some will have intense and memorable experiences. Others will encounter a work that is essentially aesthetic and sensory.

From spectator to activator

Metasynergy is not limited to the presentation of a work to be observed, but initiates a process to be experienced, during which the participant’s stance may gradually transform.

The initial stance upon entering the work is that of a spectator. The individual stands in the position of an outside observer: an installation presents itself to the eye, a space opens up to the gaze.

The second stance is that of the receiver, entering into a sensory relationship with the environment presented. Passing through the preparatory chambers initiates this transformation. These transitional spaces invite one to slow down, to make oneself available and to allow a state of openness to take hold.

The third stance is that of the activator. It invites the participant to follow a simple protocol that guides the experience. Fixing one’s gaze on a focal point, closing one’s eyes, synchronising one’s breathing with the rhythmic sounds, or directing one’s attention to a specific part of the body are all gestures that allow one to enter more deeply into the installation. The activator is not someone to whom something happens, but someone who takes part in what unfolds and directs their experience through the work.

This concept is echoed in the thinking of Marcel Duchamp, when he states that ‘it is the viewer who makes the painting’. The work only fully exists in its encounter with the viewer; meaning does not pre-exist in the object, but is constructed in that very encounter.

In metasynergy, this co-creation is extended and intensified. The work conveys neither a message to be interpreted nor an effect to be produced. It opens up a space in which the participant can actively engage with the experience.

The work then acts as a catalyst: it does not activate anything in the participant’s place, but fosters an intensification of attention and a deepening of the experience.

A mutual amplification can then take place: the work stimulates, the participant activates.

The prefix ‘meta’ here denotes a threshold, a possible passage: that from a relationship external to the work towards an internal experience, where the viewer becomes the actor of their own journey.

From this perspective, the work does not produce the experience: it creates the conditions for it.