Swiss french born artist (1969), working and living in Marseilles, composed more than thirty soundtracks for film and documentary, for dance and theatre. 

He also work as director on experimental films and artistic director of multi-field artists label (http://objetdirect.org). Producer of several records (asa nisi masa, naked, nude, tsikamoï, toc toc, the schni, eff kaa…) and artist performer (nervus vagus, half swiss, the cursed share,…), he seek to represent his sound perceptions in various forms. 

Today his performances consist in collecting space with help from analog devices, one could also speak about simultaneous translation of the space in real-time, The analog  technique allows a light shift (decay) what results to a distinction between reality and broadcast (translation). 

To give another track, one could connect this work with the Land Art… Where it is not the object but the wrap where the object is that counts and how one can reveal it… imply it. 

The first fields of applications of the concept are games, improvisation, edition, symbols, theories, techniques, research, films, musics, tests, performances. 

The Concept of expenditure of Georges Bataille and the one of interval of Morton Feldman as well as the Swiss popular rites nourish his research. 

Visual artist, sound artist, artist, type-setter…?

The sound is an oscillation… His research is founded on the perception of present in an environment and how on can collect its oscillation. His work is conceptualized by sound. 

ANSWERS TO QUESTIONS / May 2008 

My work as an artist articulates around the transformation of the sound and its influences in the fields of art, economy and philosophy. 

The characteristic of the sound is the capacity to make circulate simultaneously sens and sensitivity in the one single experiment of time and space. It is at the same time a concrete and abstract energy. If I can be considered as a “hearing” artist technically, I think that the noises are concrete oscillations where silences could be more interior vibrations or more intimate, closer to our body. To take again Georges Bataille, it is perhaps this ratio of balance that we seek, this interval between the intimate world rubbing to reality, the subject with the object… T

It is this passage you are talking about that allows to tell the present in all its mythology. The present not being a point but an interval inside the space of recordings, obliterations and objects. This Go sound is very complex… 

Presence, female of present? I am wary of this word too theatrical, the presence of a chair for the actor or a microphone for the musician, but I understand improvisation in the idea of extreme sensitivity at one moment and in a given place. 

We are sensors of a situation. 

Your dissonance is my resonance and vice versa, but to come back to the notion of noise one moment, I do not find the equivalent in French but in German there are two words to define the noise - Geräusche and Lärm - Geräusche would be the noise that it is heard and Lärm, the noise that one implies. This would be our sound correspondence. 

For me it is precisely that, art, and what I like in my work as an artist, this possibility of reflecting a human reality without burning the wings too much, the artists are neither of the warriors nor of clandestine… art is a border to be imagined and not a ground to be defended, the border is the experiment of very human and there, I join you. 

A text of F.Kafka is added to the discussion: “…Art flies around the truth, with the absolute intention not to burn itself. Its force consists in finding a place in silence, where a noise could appear with power, without having to hear it. ”