Printmaking and the methods related to metal etching are the central medium of my practice. This choice comes from my appreciation of the multifaceted possibilities available with those mediums. In itself the «medium» means more than a succession of processes on the material. It is not only limited to the digging of grooves into the plate, of photographic transfers, of intaglio processes, of the cutting of matter.
My intention is to include different modes of reproducibility in the pictures of altered resemblance. I question myself on memory, its sustainability, mythology and hermeneutics. I have also been interested in the idea of palingenesis. Themes which I approache are issued from a fantastic, symbolistic and surrealistic lineage. Finally they regroup the contemporary questions of a comeback of metaphysics and narratives in our societies, as a representation of an hybrid imaginary between post-modernity and decline.
The discovery, development and learning of new techniques in etching have become a essential part of my master’s project. To be able to design hybrid images in their operational and substantial conception and in
their substance. A fusing of hard-ground, aquatint, soft-ground, photo-etching, stencil ... Image is never a simple reality but rather, according to Régis Debray, a succession of operations situated «between visibility and a signifier and emotional power»
By the superposition of profane processes and the succession of baroque gestures, one can regroup the instruments of image and reconnect with the mysterious evocation of its origins. Each print has a portion of uniqueness, because of the sequence of processes, the bites variability and the singular treatment of each composition. It is a way to group these techniques during the inscription of a strong idea in the « transition
from formless to form ».