I like the idea that my sculptures can be souvenir objects, that they can be landscapes even though they reveal very little. I try to infuse them with the energy of a specific moment—or at least the memory that remains of it—while making them available for use. I draw my ideas and the forms I will stretch from my immediate surroundings, starting with a rather simple reading. Then I see how I can construct a composite form meant to remain suspended between two states, in a condition that is difficult to grasp and define, imbued with certain fields and various codes.
I have often come to Ouessant to experience new things and find fresh perspectives for my work. Sometimes, the memory of a journey stays with me for a long time, and the desire to create a piece that evokes it can arise much later. During this residency, I made drawings and reflected on new, more organic sculptures, though still closely related to some of my previous pieces. For two exhibitions I was preparing right after the residency, I created three wooden wall pieces named Niou-Izella, Touldreizet, and Veilgoz.
Last winter, I started a series of charcoal drawings depicting certain rocks. It was the first time I ventured into this type of form. Each drawing became a kind of wandering through the meanders of the rock, mirroring my nighttime drifts at Pointe de Pern. Depending on the light, details and shapes emerge, revealing the chaotic bodies hidden in the black night.
