From my early work on, my research in sculpture deals with the human element through clothing. Its associated functions and significances materialize in a plastic research that scrutinizes clothing, a familiar vehicle and carrier of human experience.
The importance that I give to material and to the fabrication process is in keeping with the renewal of contemporary textile art and with mediology theory (Debray, R., 2000), which considers material as preceding idea. In this manner, I underline the importance of original gesture, its historical roots and its situation in the history of humanity. This becomes concrete in a hybrid artistic practice, mixing visual arts with traditional arts and craftsmanship, using simple textile techniques requiring a patient and repetitive work of material.
While the work patiently evolves, a meditative context settles in, which allows me to build up stories. True or fictive, they bring about idea associations that join imaginary, visual and temporal elements further transposed into assemblages of materials from everyday objects.
The familiar themes that are clothing and cycle of time unite with common materials and customary techniques to physically translate facets of human experience. The human body is always around, clothing very often associates itself with it, identifies itself with it or becomes it. Translated by Nicole Royer