My art explorations are only made of objects that surround us. I am interested in humanity through objects that it creates and that surround us. In my work, objects transform, they evolve and they reveal the importance that “things”, nourished by our fears, our dreams, our secrets and our joys, take in our daily lives. It highlights the emotional power that these objects have. They are known as “magic-religious” concepts. They go beyond religion, ethnicity or culture. They show a universal phenomenon and it is that universality that I am interested in. I can work on topics such as fantasy or entropy through that emotional power.
Our world is governed by entropy, and it is thanks to our imagination that we forget our end. Some experts say that imagination plays a biological role, they call it the “fabricated function”, our minds use fantasy to help us face the understanding of death. That is why human beings can’t live without believing in something.
The basis of the magic-religious beliefs I use is made of legends (sometimes urban), tales, popular beliefs, but also symbolism and archetypes. Sometimes I also rely on scientific research, like “psycho-sometry” (objects that soak through human emotions) or near-death experience.
This is all related to objects, their statuses change and they evolve into the spiritual world. Some objects and their power even integrate the collective memory. It is on this memory that I rely on to create connections that bring people to consider the emotional power of the objects.
One might think that with the way our societies evolve and with consumerism, these “magic-religious” concepts have lost some of their strength. But as soon as a crisis is there to remind us of the end of our lives, the “powers” that surround us kick back in.
For me, the object doesn’t illustrate history, it is the symbol that brings us back to it in the psyche and this is why objects are so present in my work. The universality of everyday objects allows me to reach a large number of people.
My intervention is not limited to presenting those objects, I intervene and work as much on the emotional power attributed to them, as on their domestic aspect. By questioning their domesticity, at the risk of destroying it, I raise the question of their place in our everyday life. My art questions my personal vision of the power that is embedded in these objects. Artist Jean-Luc Courcoult uses the term “imaginary realism” in his work. My work resonates with this concept, as it has a realistic basis, with concrete objects that carry an emotional power and that men’s imagination have created. My work reveals the fantasy of these objects by putting them into contexts.