As a multidisciplinary artist, my practice lies at the crossroads of writing, film, performance, and human sciences, drawing inspiration from ethnographic sensory cinema as well as somatic approaches such as Butoh, hypnosis, and Kashmiri yoga.
My work questions the relationship between the body and the image, seeing both as terrains for exploring the affective and memorial dimensions of human experience. The body, as the site of conscious and unconscious experiences, is shaped by social norms, historical violence, and the productivist mechanisms of modernity. These repressed experiences leave sensitive imprints, expressed through "negative images"—invisible yet symptomatic traces that haunt us like ghosts. Within this framework, I seek out, observe, collect, and reflect on figures, practices, and knowledge emerging from an ecology of obscurity: aspects of ourselves or our collective history that have been hidden, repressed, or deemed unsightly, damaged, even monstrous. I question how art can serve as a space for reclaiming both the body and the self, while proposing an aesthetic of obscurity as a critical method for a hyper-exposed society that values beauty, control, and hypervisibility.
My past works have engaged with marginalized spaces such as anti-psychiatric networks and temporary occupations, as well as historical trauma, including that of Nagasaki and Hiroshima. My new project, Obscures Liaisons, began as research into so-called monstrous female figures from mythology, history, and art, positioned in contrast to the fixed ideal of beauty. In this context, I encountered Colette Peignot/Laure (1903-1938), a tempestuous French woman of letters with fragile health. Her work, preserved only in fragments, takes the form of personal accounts, poems, essays, and epistolary exchanges that explore eroticism, exuberance, anarchy, the sacred, and death. Through her experiences and archives, I investigate the connections between her era—the 1930s—its documentation, its representations, and its hidden frameworks. I examine the gaps in these narratives and question how the intimate dimensions of an individual’s experience intertwine with collective history. Through an experimental documentary, I reimagine images and stories from Colette Peignot, transposing them into a contemporary context to propose alternative possibilities.
