The real being a sort of unreachable area, I try to approach it by means of a grid slicing it in order that everybody gets a piece of it. The grid resembles a diagram of forces in which i put all the ingridients needed for a good tv dinner or yoga session. The grid also works as a sieve : it allows me to drain the real... to take a look at things cooly.
During the performances, every single word and gesture is allowed to be lighter, freed from its usual meaning, with the help of the diagram. My aim is to make everybody in the room aware of the shared, unique situation : we're all in a precise and genuine moment. Using musical loops, short-cuts or even smoking, I try to generate gaps in the continuum, holes in the smooth encephalogram, lapses in the conscience. I track down the stuttering thought and the dribble of words. As the real flakes away, I can reach directly the audience and suddenly my words are much more distinctive. This is the moment I intend to create. This is where my work belongs.
Each presentation of the works deliberately fails to fulfill the usually requested immediate capture of the entire body of work. The works being constantly combined — or even blended — into each others, there is no will to come to a resolution. I'd like to think of it as a never-ending sequence of chords escaping the tonic. The meaning is to be found in a delayed embodiment, almost as an after-effect.