I grew up in what is called a “dormitory town”, then lived in apartments in the popular districts of Strasbourg, Paris or Brussels. For better or worse, my eyes were fed by the urban: the gray sidewalks, the cramped spaces, the light of the metro, but also its architecture and its inhabitants in all their diversity.
My last works deal about architecture and madness. From the excesses of the towers and stadiums to the uncontrollable proliferation of apartment buildings, man seems to be overwhelmed and subjected to this energy-consuming machine that he has built himself. Built on record times and at exorbitant costs, these superstructures, or instruments of power, seem increasingly disembodied and disconnected from the human. Fragile monsters that seem ultimately condemned to abandonment or desertion. It is the ambiguity between this seductive surface and its troubling reality that interests me. A disturbing beauty that provokes horror, discomfort and fascination.
In a technocracy that leaves little chance to hasard, drawing is my tool to humanize these landscapes. I isolate existing architectures and transform them by accentuating their ostentatious, invasive, fanciful or absurd character. If all retains a certain coldness by frontality and geometrical rigor, the manual work of graphite or engraving gives it a form of sensuality. It is also corporeal, imperfect, changing. In spite of my desire for control, the accident is imperative: constraints of paper and techniques, inaccurate perspective, even impossible.
I draw slowly and repetitively, confronting the randomness of the hand with the perfection of the machine. I like the drawing by its "poor" character. It requires little means and has no limit, except that of time. A time that I give myself, and that is a way of approaching this frenzy with distance, patience and humility.
"What is on the euro banknotes? Not human figures, not insignia of personal sovereignty, but bridges, aqueducts, arches - impersonal architectures with empty hearts. The truth about the present nature of power, every European has a printed copy in his pocket. It is formulated as follows: power now resides in the infrastructures of this world. ". Comité invisible, À nos amis, éd. La fabrique, 2014
A white elephant is a possession which its owner cannot dispose of and whose cost, particularly that of maintenance, is out of proportion to its usefulness. The term derives from the story that the kings of Siam, now Thailand, were accustomed to make a present of one of these animals to courtiers who had rendered themselves obnoxious, in order to ruin the recipient by the cost of its maintenance. In modern usage, it is an object, building project, scheme, business venture, facility, etc., considered expensive but without use or value.