My workshop-lab

My studio functions as a laboratory for artistic exploration.

Each work tests certain hypotheses regarding states of consciousness.

It is neither an intuitive whim nor a scientific demonstration, but a space where rigour and sensitivity coexist.

My works arise from personal experiences, but cannot remain private. They must find a form that can be communicated, capable of resonating with others. My work consists of recreating the conditions under which they emerge.

I first experience the moment without analysis. Then, once it has settled, I observe its components. From there, I devise ways to recreate this inner process within an artistic framework.

Each work demands time, rigour and attention. The studio remains a living space where intuition and observation engage in dialogue, and where inner experience precedes any formulation.

The works are born of an inner alchemy. The creative process is rooted in a continuous engagement with consciousness. The work and I nourish one another: I first experience what I wish to convey, whilst allowing the work the freedom to unfold. My energy permeates the work and contributes to its creation.

At the heart of this process lies my artistic intention. It defines the quality of the space created and ensures its cohesion. This artistic presence generates an energetic radiance that is difficult to objectify, perceptible in the experience and permeating the work. A work guided by clear intuition exhibits a particular sensory coherence, much like a living organism.

My intuition acts as a subtle intelligence embedded at the heart of my subconscious dynamics. It operates prior to the analytical mind. It guides the choice of a colour, a rhythm or a form. My work consists of cultivating this intuition, refining it and testing it against experience.

This work is not formulated in advance: it is constructed in the act itself, through successive adjustments, between trials, deviations and revisions. It is within this movement that intuition becomes clearer.

To lay the foundations for this complex project, a necessary solitude became essential, as the stages of creation could not be delegated. I handle the filming, the sound, video and lighting editing, right through to the costume design. The production thus becomes inseparable from the research. As these foundations stabilise, forms of collaboration can now emerge, without breaking this direct link to experience.

Je formule une hypothèse, je conçois un dispositif, j’observe ce qui advient. I formulate a hypothesis, devise a framework, and observe what unfolds. I assess the effect of rhythms, colours and structures on attention and states of consciousness, then make adjustments until the experience stabilises. This process allows me to test its limits and refine the conditions for accuracy and balance before any dissemination.

This development follows cycles: a phase of exploration, then a phase of integration where everything settles. The work then emerges in a moment of intuitive synthesis.

A synthesis of creative principles

Over the years, a language has developed: a sensory grammar born of experimentation and observation. The following principles offer a synthesis of this.

Entry into the work is gradual. A state of receptiveness sets in, allowing an intention to emerge. The experience focuses on a focal point and then stabilises into a unified field of perception.

Progressions must be gradual: abrupt transitions generate resistance. During the initial experiments, some participants remained at a distance, sometimes disturbed by rhythms that were too fast. This discrepancy shifted the work towards greater slowness and attention to thresholds. The nervous system needs to be supported.

The alternation between calm and stimulation creates balance.

Multisensory synchronisations tuned to the same frequencies play a decisive role: when several senses are engaged in a coherent manner, the effect is amplified.

Temporal variations structure attention. Pulsations, cycles and progressions accompany the internal dynamics and can synchronise the nervous system. Slow tempos promote relaxation, whilst gradual variations prevent disruption.

Geometric and symmetrical forms organise the gaze and induce states of absorption. Some focus attention, whilst others open up to a broader perception.

Colours form a sensory vocabulary, modulating the inner state between introspection, stimulation and clarity.

Sounds extend this architecture: low frequencies ground the body, harmonics support the vibrational dimension, and repetition establishes a continuity conducive to receptivity. The voice and breath introduce an immediate physical closeness.

The synergy lies in the orchestration of these elements.