My first vocation had been dance, it was my art for twentyfive years.
At eighteen, I discovered Yoga. The mutual practice of the two disciplines allowed me, I suppose, to better explore the physical an mental dimensions of being, both in a stationary position and in movement.
While staying in the U.S.A. I learned about cords, strings and knotting. Dance does appeal to the spirit and the body.
Those "things", those materials, submissive or restive, responded to my desire for externalisation, for detachment from myself. I have no other tools but my hands and my fingers, in contact with the braided strings, preferably vegetal. The knot that shapes the cord varies hardly at all: a half-key and more rarely a flat knot. The technique is elementary.
"I have no other tools but my bare hands and my fingers, in contact with the braided strings, preferably vegetal."
I have no set method of constructing my works: simply a rather vague image at the beginning of each undertaking.
The forme is born of the contact between the cord and my fingers, of spontaneity, improvisation, or error overcome with patience and vigilance.
Curiously - but so logically upon reflection - the knot finds its place in all the symbolisms, occidental or oriental, religious or mythical, as an emblem of linkage and of deliverance. Here the knot supports the form and constructs it, reveals it, and imprisons it.
