From about fifteen years, I approach art through a rarely used medium that has disappearing and blurred contours: scent.
Nowaday, I extend it to what one might call ‘close senses’. Adding the olfactory dimension the contemporary art practices opens new forms but also new way of showing.
Invisible matter, the olfactory molecules are a unique tool to embody art into the “now and here”. By blurring the traditional limits of shapes, the olfactory dimension twist traditional way of doing contemporary art and especially challenge the fact it is too much focused on vision.

Odours really deal with our self and intimacy. They affect our social behaviour and how we build our identity. Often unconscious and nonconscious, our reactions to smells reveal our profound judgements criteria and values. Smells infiltrate the social field for criticizing in a new a strongway, the artificiality, even the arbitrariness of our social conventions. As soon as we accept to exchange into the olfactory field, we seems to lose filter and be a bit more authentic, even true. There is a lot of ethic behind the use of smell.
The art of odour is an art of the in-between: in-between present and past, in between internal meaning and external reality, in-between the self and the other. It pushes my practice to re-enact and to extend the logics of the Relational Aesthetics defined by Nicolas Bourriaud during the 90s.

My researches deal with four means topics (common goods, common bodies, common spaces and common dreams) that all interweave together now so as to produce common experiences to share : The Factories of Commons. The overall aim is to help to generate senses based and intimate encounters with the ‘Other’.
My artistic ambition is based on the desire to create collective and reembodied experiences. They are no longer frozen sculptures but performative tool sculptures.
By reincarnating the artistic experience through a sharing of the sensitive, a whole new social body is taking shape. The climatic and living crises require us to be more down to earthwhich is nor incompatible with panache nor a strong dose of poetry. Placing oneself as much as possible in public and natural space makes it possible to better confront social diversity and environmental biodiversity.

It is probably by participating to what I call a Sensory Aesthetics which is located in the ‘here and now’ of singular ecosystems each time, that we will manage to reweave more desirable relationships and modes of action between living beings.