Updated: Apr 14, 2020
Interview by Caroline Canault.
For you, why are video and animation the best means of artistic expression?
Telling stories using video and animation is a simple and instinctive task for me – it turns my narrative into something fun and playful, brings an added dose of creativity. Furthermore, the ease with which I now handle this technique has inevitably prompted me to favor it as a means of expression. I must also add that animation came to me somewhat by accident, for economic reasons, in the sense that many of the projects I would like to have undertaken “live”, with added special effects, could not be set up in this way - funds were lacking. Today, animation has become the most practical mode of expression for me to develop my ideas.
You are an ardent defender of humor and trash, what is the best way to work with these two concepts?
I have no idea how I manage to combine irony and offensiveness, it’s something I have learnt through the years and that now comes naturally… Whatever the reason, it is a means of expression with which I can easily convey messages and have fun creating. I have carried a kind of irreverence deep in me since my youth and I unleash it when I do what I do.
What will you next project be?
I am working on a film short entitled "le chat" (The Cat). It is a movie shot in classic animation style, drawn by hand, image after image. The story speaks of a little boy who hears a knock on the door in the middle of the night. When he goes to open it, no-one is there. On the ground, there lies a dead cat, his chest torn, a cat with a man’s face. The boy decides to enter the cat via his wound, and to propel himself into another dimension.
Fragmentation and distortion of the body is a central element in your work, could you speak more about these actions?
Since my childhood, I have always loved the surrealist, forms bent out of shape, everything in some way presented as an encroaching of conceptual and physical reality. Distortion and the explosion of bodies occurred to me naturally in my work. Through the years, this has allowed me to enter a new perception of reality. Thanks to the influence of authors such as Burroughs, Artaud, Perniola and Cronenberg, to name but a few, I could also understand its conceptual potential and aesthetic appeal. Physically deconstructing the body allows us to alter our perception and feelings but also means that we have placed the body upon an axis of symbolic thought.
According to you, how might figurative destructuralism genuinely reflect our times?
The de-structuring of figures is an aesthetic approach very much in keeping with the times, yet in reality, it already started with cubism and futurism, over a century ago. In a way, deconstruction signifies incorporating time, space, ideas, past and future into an image... It implies simultaneously seeing things from several points of view, but especially, it is a feeling rather than a seeing. Today, more than ever, I feel this conceptual appropriation of the aesthetic is becoming increasingly farcical and supernatural. All this contributes to producing aesthetic shapes which are truly interesting and magical.