WORK
Landscape drawings avoiding any signs of human life. Drawn en plein air, in an interactive environment—marked by the movements and sounds of the wind in the leaves, the changing lights and scents of nature. 2013–2017.
I buy shadows of real humans. We negotiate a price and sign a purchase agreement. Since it’s not possible to separate the shadow from the human body, I make a drawing of it, which represents the shadow for the transfer of property. 2012–2016.
Apparently a simple idea, to place the paper on the ground and retrace the shadows, fixing an evanescent moment. Looking a bit like a herbarium, yet this project is much more a homage to the unresting shadowplay—perpetual rather than ephemeral—of the sunlight with the plants. 2012–2016.
Like a travel sketchbook, this is a collection of shadows of the cups of coffee I have drunk, with some annotations such as the price of the coffee, the date and hour, and the place, to restitute to these temporary apparitions something of their neglected importance. 2010–2012.
Like the trace on the paper showing the movements of the pencil, of the hand, of the arm, the ways of seeing and thinking of the drawer, the audio as well is a trace of the same actions, and both make visible and audible the way of looking and the thoughts of the drawer. But even more than the paper, the recording reminds us that the drawing is something made, the making of which has taken and captured a certain time-space. 2007–2010.
12 views of the same landscape, every time a little closer.
30x42 cm each. 2009.
30x42 cm each. 2009.
A long term interactive project: On a blog, I publish drawings which I send for free to the first person to get in touch with me. In exchange, the new owner sends me by email a photograph of the drawing in its new environment. I print out the picture, place it somewhere, and make a new drawing, which I give away for free again, and so forth. 2006–2016.
Rather than describing the persons, these photographs, like relics, capture the light reflected by them. The accompanying texts don’t reveal much about the artists they pretend to characterize, suggesting only a few random indications. 2004.
Inkjet print on PVC 75 x 90 cm, text on A4 paper. 2004.
Inkjet print on PVC 75 x 90 cm, text on A4 paper. 2004.
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