"We had the experience but missed the meaning,
an approach to the meaning restores the experience.
In a different way"
T. S. Eliot, The Dry Salvages, 1941

                The desire to pursue a visual production came to me at the end of my first academic training. After a master's degree in Philosophy, and a second one in Art History and Museology, I turned to the arts as a field of experimentation, and even of play, for my ideas. As a self-taught artist, my practice consists in applying the reflective and methodological tools I have acquired to something that usually stands outside the academic framework: experience itself.

                In contrast to a poetics based on sheer subjectivity, I examine my daily life in search of the points of inflection where experience goes beyond the personal anecdote and unexpectedly takes on a collective dimension. And thus, a political, economic, social significance. From this paradoxical stance, it is possible to enunciate something new about oneself, using the third person, and then turn back to the first person, but in a different way.

                More specifically, through the means of long-term research projects, I depart from ordinary events to investigate how social discourses - such as those of history, law, medicine, bureaucracy or even astrology – inform our individual identities. By deploying myself as subject and object of analyses shaped by different sets of ideas and concepts, I also suggest that works of art can function as true "case studies".

                Combining theory and practice, these projects take the form of photographs, objects, installations, performances or text, and are presented in the context of an exhibition, a book or a conference, thus reaching different audiences. They testify to an effort of imagining other forms of dissemination of research; which could be at once freer, more experimental, but also more generous than the highly codified academic thesis.