flattened and the framing imposed. When I work from my model in my art studio, I can move around my installation and choose my composition. If I want to add an element to the installation even if the drawing has already begun I will do it. I don't get stuck in a idea of what my drawing will look like. Quite the opposite, when I start to draw I don't have a precise picture in mind of the result, I let myself be surprised by the accidents on the paper, the superimpositions and the erasures.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
I am interested by the tension between the emotional state that ignites my drawings, something quite expressive, gestural and physical in an immersive way, and the intellectual side- which is all the references to art and humanity history that the viewers can discover in my work. For instance, my series of drawings Melancolie refer to Durer's engraving Mélancholia. This picture fascinates me, especially the polyhedron. This geometrical form and what seems to be a face on it remain a mystery. What interested me is that the viewer is enveloped in the drawings without actually being able to see them in their globality. The closer you get to the drawings, the more erasures, ghosts tracks, reappear from the palimpsest while other elements disappear. This duality, this frustration of the look is very important for me.
Peter Osborne in his book “Anywhere or Not at All: Philosophy of Contemporary Art” states: “However, the spatiality of the metropolis cannot be reduced to an abstract negation of ´place` or of what is somtimes called ´absolute space´ in either its Lefebvrean or mathematical-topographical senses. For, if metropolis replaces the absolute space of place with `no places`, meaningless spots`. Since in your art the concept of a `non-space` seems to be present and appreciated again, could you relate anyhow to this words? Could you tell our readers more about the background of your research of wastelands? 4
stage.What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
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