I seek to preserve the trace of fleeting moments by materializing the emotions that pass through me within a given context. Like a topographer, I endeavor to represent these transient emotional states in a form akin to sensitive, polymorphic diagrams, through a sedimentary process.

Using textile and thread as my paper and pencil, I transcribe the inner tremors that stir my being: the variations of emotions—diversity, intensity, subtlety—felt during an event, an encounter, or in a particular place. A flat surface stands in for my body to collect these upheavals, following a sequenced and slow protocol.

First, I compose a base-terrain, a fragmented and sometimes layered assembly of textiles with varied appearances, in hues of rock or earth. I use ancient cotton, hemp, or linen fabrics, laden with their histories and imperfections. After cutting, I leave their edges “raw” to preserve their tremors. I work with them in their raw state or dye them myself using plant-based methods. This slow, uncontrolled process of coloring allows me to maintain a connection with natural elements and minimize my ecological footprint.

Then, from words I’ve noted that recall the lived moment, I trace a first line of force, an intent.s.ion, in a movement that variably engages the body. Finally, I hand-embroider, stitch by stitch and without preparatory sketches, a multitude of more or less sinuous and intertwined curves that dialogue with the surface.

I work in silence, in connection with my subject. The repetition of slow, meticulous embroidery gestures leads me to a state close to meditation.

This working process aims to create a tangible “synthesis of time” (G. Deleuze).

My practice is enriched by collaborations with artists, artisans, or designers. These joint creations often lead to significant creative advancements, which I then pursue in my personal works.