“At the heart of my artistic pursuit is the decorative object. My research centers on conceptual explorations of the multiple layers of meaning of decorative collectibles, in their sociological and historical dimensions, and also in their ideological and aesthetics ones. This approach takes its form in the re-appropriation of historical ceramic archetypes. My research considers the object as a social indicator, a “sign bearer”1. Considered as instruments of political power, ideological vehicles, demonstrations of ostentatious luxury and economic power, but also as incarnations of emotions and experiences, the historical archetypes of decorative arts consummately provide me with useful material.
Therefore, I regard the inventory of original models from the main 18th and 19th century European porcelain manufacturers2 and use these models as a basis for research on the status of the collectibles, by subjecting them to a practice of deconstruction and violent alteration of their formal structures, or by contaminating their traditional decorations through a subversive process of subject substitution.
Via this approach, I have recently turned my attention to an interdisciplinary practice that combines decorative objects and video in a totally original way, using ceramic models as screens for video projections.
These corruptions, formal and iconographic, as they reassess the historical, social, political and aesthetic values of the decorative object, also reveal an intense and ambiguous relationship with it.”
1 Moles, Abraham A. 1972. Théorie des objets.