To write actively on the world with images and all the forms required of the visual arts, by developing over the years a form of grammar, making collective the complex relations of visual representations between them: these are the steps I take through my practice in the broad sense of collage. To develop this grammar, I questioned myself on what images are and subsequently other forms of visual languages. I also try to place myself at the crossroads of other cultures, writings, stories and disciplines, those of people of bygone eras or still alive, if not of intertwining of futures. These crossings taught me to consider roads, migrations, voluntary or accidental savings of "iconographies" and their decorations. More than the self or the place, they are the nodes and the complexes that I consider the most agile.The paths of collagist artists like Raoul Hausmann or even Kurt Schwitters who each collected and reassembled in their own way the fragmented hubbub of the crowd and of their time, were cornerstones for me. The "reflexivity" of the images and materials that I use, as well as their combinatorial capacity for contextualization, respond to my need to create while traveling without clutter towards glimpsed horizons, but also on a daily basis in the cities where I live. Traveling with images also led me to graphic collaborations for the World Health Organization (WHO), as well as for various NGOs, as did Kurt Schwitters who was also a graphic designer. Inventiveness must be confronted with needs, but also with constraints. If images have stories, it is still a matter of learning to read them, dissect them and reintegrate them into new fields or contemporary contexts. , Semiology, Anthropology, Philosophy and Political Sciences influenced me, as did the theoretical and poetic collages of Jiri Kolàr which drew my attention to plagiarism, as well as the works of Gabriel Orozco relating to displacement, but also those of Tadanori Yokoo or Ai Weiwei combining culture and socialization of knowledge between craftsmen and architects, artists and designers, or the works of Marcel Broothaers, Robert Filliou, Hans Haacke or Chris Marker highlighting in place of multiple forms of artistic collaborations. From now on we have crossed the margins of epocal borders which push us towards more open supports than our previous encompassing universals. This is why I will direct my efforts towards:
· Objects designed as evolving matrices;
· Use my iconographic resources, in particular those of my existing collages, to develop and enlarge them;
· Develop the series of monetary collages; spherical Oblò; circular works; expansions; "space multipliers" rather than saying facilities; finally all kinds of "Confrontations";
· Collaborative and association projects responding to various "praxis" of my grammar of collages and "Collective Works.
· Objects designed as evolving matrices;
· Use my iconographic resources, in particular those of my existing collages, to develop and enlarge them;
· Develop the series of monetary collages; spherical Oblò; circular works; expansions; "space multipliers" rather than saying facilities; finally all kinds of "Confrontations";
· Collaborative and association projects responding to various "praxis" of my grammar of collages and "Collective Works.
