Working Notes

Follis constitutes a whole that develops by points, where the repeated pneumatic objects trace out a space of the imaginary in a given place, as much through the presence of these simple objects as through the emptiness that links them.

Objects are used as a pre-existing architecture or structure on which different ornamental elements come to be fixed.

A Net where elastic bands punctuate the metal structure and give the drawing its precise form.

Each reference to a work is like a point in a numbered drawing, it is the liaisons between the different actions which constitute the work. A succession of rebus forms like a giving shape to a space between fiction and reality. An intermingling of the fictive and the real.

A volume unfolds in the space of another volume, each element operates a progressive slippage of forms which refer to exterior forms.
To escape from, to break with representation to just leave the presence of the elements of the structure.
The pieces gain their identity at the moment when they assume their place in the space.
To attach, the impression of a continuous form that has a relationship with the place.
Fragments and pieces of a puzzle, a corollary assembly, each object is confronted with its own nature, its process, is answerable to itself and participates in the organism.
It suggests, structures: full, empty, inside, outside, the wrong way round, the right way round, material and form.

A pattern.
Like a numbered drawing, from one point to another, the repeated pneumatic objects trace the space of the imaginary.

Swollen, a balloon filled with air, an occlusion of air, Follis…

To work with a prosaic material, one somehow not fully solid, for instance the recuperation of inflatable inner tubes.
To make sculptures, simple or composed forms, linked by glass bottles, for example.
To make, that is to say to bind oneself to the limits and constraints of materials and to work with them in the most direct way. The practical side is essential.

The works are two, sometimes three dimensional objects and it is this formal ambivalence which gives the work its coherence.
This coherence is due to the structuring of the big composite pictures by the contours of the sculptures, to a material poetics in which materials become imbued with suggestions of the range of senses which they are capable of expressing and to a precise and playful combinatory inventiveness.
The cut-outs and elements super-imposed, the traced forms and the grafts in the works are as much objects in their own right, as allusions to other objects and bring to light an aesthetics of liaison.

What I am checking through the use of inner tubes and other inflatable, foldable, sewn, ligatured and fixed together textures, is the idea that, as is the case for living organisms

if it functions well, it is because everything is correctly assembled.