site-specific projects
A work can begin with a place.
There are places we inhabit, and that eventually come to inhabit us in turn.
A home carries a particular light, repeated gestures, memories. A territory leaves colours, materials, landscapes in our lives — sometimes stories we want to keep close.
Creating a work for a place means beginning with all of this.
Seeking what deserves to remain there. What can be passed on without being explained. What, transformed through matter and gesture, can become a presence to live with.
A work born of this place, this history, and those who inhabit it — a work that could not have existed in exactly the same way anywhere else.
Carrying a place into the work
In a site-specific project, I remain the author of the work, but I am no longer the only agent in its making.
I listen to what the place already carries, and to what those who will live with the work wish to preserve, pass on or bring into it.
This may be a memory, a connection to a landscape, a family story, an atmosphere. It may also be something very tangible: a particular wood, a dye plant, a soil, a local fibre, a colour drawn from the territory.
I do not seek to translate these elements into symbols.
I let them enter into the making of the work itself.
A plant can become colour. A soil can leave its trace. A wood can form the frame. A story can shift a rhythm, a tension, a way of connecting or leaving a surface open.
The story becomes matter, colour, structure, gesture.
My role becomes one of carrying things across: between a place, those who inhabit it, and the work that will take its place there.
forms
The place as a starting point
A site-specific work is also shaped by very concrete realities.
The height of a wall, light passing through the space, the distance from which the work will be viewed, a passage, an angle, circulation, or the possibility of seeing the work from several viewpoints can all influence its form.
It may remain wall-based, unfold into a diptych or polyptych, follow an architectural rhythm, become suspended, or leave the wall altogether to occupy the space itself.
The form responds to the particular qualities of the place while revealing something of what makes it singular.
WALL-BASED WORKS · POLYPTYCHS · INSTALLATIONS · SUSPENDED WORKS · SPATIAL DIVIDERS
Visualisations of possible forms and spatial configurations — not representative of completed projects.
DEVELOPING A COMMISSION
Each project begins with a conversation.
You do not need to arrive with a fully defined project.
For a private client, a few photographs, dimensions and a conversation are often enough to begin. I then guide you in identifying what is useful for the creation of the work.
When the project is led by an architect, interior architect or another professional, I work in dialogue with them, within the spatial and technical constraints they define.
01 — DISCUSS
Talk about the place,
its use, its atmosphere, and what you would like to bring into being there.
02 — ASSESS
Receive the elements of the place.
Photographs, dimensions and, where available, plans, hanging requirements or technical constraints.
03 — PROPOSE
I develop an artistic proposal
defining the form, dimensions, placement, materials and palette of the work.
Drawings, simulations or samples can accompany this stage when they help to visualise the project.
04 — CREATE
Material research,
dyeing, spinning, weaving, construction and assembly gradually take shape in my studio in Provence.
05 — INSTALL
Transport arrangements,
hanging or installation arrangements are defined according to the work and the place, in coordination with the project professionals where applicable.
When the project forms part of a broader architectural design, I work directly with the architect or interior architect leading it.
TIMELINE
The schedule depends on the scale of the work and the research involved. A minimum of several weeks should be expected.
BUDGET
Each commission is developed through a proposal and a quotation.
COMMISSION
Creation begins once the proposal has been approved and a deposit has been paid.
A PLACE, A STORY TO KEEP ALIVE
What if a work could carry something of it forward?
A few photographs, a plan, a story or simply an intuition can be enough to begin.
Tell me about the place. What binds you to it. What you would like to keep present there.
Together, we can discover what kind of work might be born here.