An artistic voice, blending texture and resonance

This page does not present works as results. It sets out a creative stance. It presents what I am currently bringing to a state of stability: a pictorial and sound-based practice in which the voice does not overshadow the material, but rather opens it up.

My works correspond to what I call a ‘stabilisation’: a threshold where material, voice, surface and spatial constraint attain sufficient density to hold together.

I seek neither the modernist autonomy of the medium nor infinite processual dissolution. I work in the in-between: a form that is embodied, yet not closed.

Material and transformation

My relationship with art began in childhood.

Pigments, raw materials, artisanal transformation: I grew up in an environment where materials were worked, manipulated and transformed. I began painting at a very early age.

My earliest series explored the underwater world — not to depict fish, but to understand the sense of being enveloped: filtered light, depth, and the way light travels.

This initial motif remains. Even today, I seek to produce works that envelop the viewer.

Stabilising — an artistic voice

My practice is not limited to a single medium. I work with painting, collage, sculpture, realistic portraiture, and cubist and abstract forms. These forms of expression are not abandoned: they are drawn upon.

What is taking shape today is not a style, but a structure. To stabilise means: to identify a configuration in which matter, space and resonance become interdependent.

The voice — as a medium of sound — does not replace visual media. It creates a tension between them.

It introduces into painting an invisible yet physically active dimension. Colour ceases to be merely optical. The surface ceases to be merely flat. The composition ceases to be solely visual.

A vibrational dimension runs through the whole.

The mechanism

The prototype works (50 x 50 cm) incorporate a sound mechanism that can be activated by a pulse. This square format is not decorative. It neutralises hierarchical axes and concentrates internal tensions.

Characteristics: - unprepared canvas to facilitate the propagation of vibrations, - perforated plywood backing (acting as a sound box), - integrated housing, - 3-minute vocal recording (fixed duration).

The sound is not added. It is structural. The surface becomes a membrane. The painting is no longer merely something to be looked at. It becomes something that transmits. The technical mechanism does not serve to create an effect. It enables a new perceptual condition: a painting that literally resonates.

Activation — body and duration

The artwork is activated by the body. A sound impulse triggers the recording.

This simple gesture transforms the visitor’s position: they are not merely viewing a given artwork. They bring it into being.

The fixed duration of three minutes acts as a temporal volume. This framework imposes an experience that cannot be compressed.

Activation is not a spectacular interactive device. It is constitutive. Without the body, the work remains in a state of latency. With the body, it becomes a vibrational event.

The painting becomes a space for listening. And listening becomes a pictorial space.

In progress

The prototypes constitute a foundational series. They are not isolated experiments but the first stabilised manifestations of a broader body of research. The next stages include: - larger formats, - chromatic adaptation according to the sites of exploration, - adjustment of vibrational parameters, - exploration of new vocal intensities.

This practice articulates: - pictorial materiality, - spatial condition (the square as an intensive field), - volumetric temporality (3 minutes), - bodily activation.

To stabilise is not to conclude. It is to make an embodied tension shareable. It is to propose an expanded form of painting: neither a pure image nor a simple sound installation, but an activatable resonant surface.