A textile designer by trade, I have recently embarked on a multidisciplinary approach. Taking things to the opposite way is an essential value of my work: this is why I chose to divert textile techniques and apply them to paper. So far, my creation has highlighted a raw, almost brutal approach to color, garish and childish. A year ago, I have understood that I had been the victim of incest on the part of my father and my grandparents. I was, to this day, smoked out by my parents, built upside down, and lost beneath layers of complexity. Undoing that, I take full possession of my soul, my body, my heritage and, therefore, my creation.
In the life of an incest victim, there is a first rupture, in childhood. There is a second, the day she understands. This new stage for me can be read in my relationship to color, which until now was very primary. The transcription of a necessary, almost vital need; an implosion. I am now working on more nuanced colors, combining both natural and artificial hues. These colors, like me, are born here and now. The black, which I work fractal and deep, is oriented by the color itself, which I affix upstream, powerful and fundamental. The two are intimately linked and define each other.
My work is both a tribute and an account of textile know-how. My woven works navigate and create bridges between textile, painting and sculpture. Like Anne Teresa De Keersmaeker with "Rosas danst rosas" or Gertrude Stein "Rose is a rose is a rose is a rose", I exploit repetition and nuance, which, in my creations , serve the color itself, reveal it within its essentiality. Yellow increases tenfold in volume, its tonality and rhythm varying according to the viewer's point of view. Thanks to the batik technique, I work on blur and accident with the manipulation of hot wax. This is how I disturb my always calculated work. The process that isolates "the white" by wax reserve allowed me to work on the blur and to have an extremely dense approach to color: both diffuse and compact, both complex and raw.
