My artistic practice is primarily based on research within fields that I do not have a pre-existent expertise or knowledge. Acting as an observer, I construct my own reflections by selecting, comparing, interpreting and weaving different narrative elements through a free “ play of associations and dissociations” *. As a stance but also as an object of critique, I deconstruct through my work master discourses: the ones of the truth makers who designate who has agency, a voice in the political sphere and who is devoid of it. These authoritarian movements can be found under the name of positive discrimination and race-based census — as in my work “ De-nigrations” — or in the mystification of Karl Marx’s remnants by the Communist Party — as in “ The Tombstone Where (…)” . In my practice I investigate blind spots of history, moments when men seem to be struck by amnesia, to bring critical enlightenings. In order to do so, I engage in contemporary political questions, but at the same time conflate this social awareness with historical references sprung from art history. In an associative way, I confront Otto Neurath’s universal visual language (Isotype) with prejudices embodied by the census of a population or, for an upcoming project, Jacob Epstein’s modern sculptures within the Western post-colonial influence. I am interested in combining found images, archival material, research documents in my works which question the ground upon which ‘objectivity’ relies.

* “ Being a spectator is not a condition we have to change : It is our normal condition. We enact a free play of associations and dissociations also as a spectator.” , Jacques Rancière, The Emancipated Spectator, La Fabrique Editions, 2008