Artistic Statement

Space, movement, rhythm, colour, and a lo-tech approach are what make up the main aspects my work. Whether through writing, drawing, installation, performance, actions, relational or infiltrating practices, what matters is the relationship between these processes.


My artistic work is first and foremost an investigation into attitudes, as opposed to any particular medium. It is a ritualized practice that takes its inspiration from what is there, from what I encounter in my day-to-day. I choose my topics based on what captivates, awakens and excites my attention. In this sense I could say my topics choose me. It is a practice firmly anchored in an appreciation for the present moment.


“Art does not transcend our daily preoccupations, rather, it makes us confront reality through our particular relationship to the world.”[1]


Being in relation/in relationship to – this is the foundation of my work. Whether it’s with an interior space or an exterior space, the relationship between oneself and an other offers a field of presence that facilitates such transmissions. As such, I am interested in the way relationships allow us to at once confront our limitations while offering opportunities for transformation.


I incorporate life’s daily themes, modest objects or biographical materials to make the lists, installations, drawings or actions that often punctuate my practice.


In response to a social culture that is generally quite sensationalist, I privilege an approach that puts the life force of being at the centre of my projects, emphasizing a fundamental simplicity, lightness and depth in the proposition at hand. I challenge the limitations that we self-impose, in order to “succeed” in our lives.


The projects I initiate reveal a search into the consciousness of experiences, what it is that influences our life’s path – along with the possibilities for transforming the ways in which we perceive ourselves, and by extension, others.

[1] Nicolas Bourriaud, L’Esthétique relationnelle, Les presses du réel, 2001.