My artistic practice unfolds at the intersection of sculpture, performance, language, and the edible, with a particular focus on modest materials, everyday gestures, and shared experiences. Informed by a dual heritage—rooted in a working-class family background and formal training in visual and performance arts—my approach explores the tensions between art and life, comfort and discomfort, function and fiction.

I create ambiguous objects—somewhere between furniture, prosthesis, and sculpture—that question exhibition codes, class dynamics embedded in form, and representations of taste (both aesthetic and gustatory). Through wordplay, DIY strategies, cooking, and conviviality, I aim to craft situations where the audience becomes an active participant, and the artwork becomes a surface for exchange, a storytelling tool, or the support for a ritual.

In projects such as L’inconfort, Barbecue Constructiviste, and Alreadymade: Fountain, I repurpose everyday gestures and objects, recontextualizing them into activatable installations. Food, the table, the meal, and domestic furniture become critical levers—ways to speak about our habits, our shared narratives, and the social or identity-based tensions that run through them.

What I sometimes call “performative design” or “edible sculpture” is, in reality, a space of friction—between institutional art and popular culture, between form and action, between audience and politics. My work seeks to provoke moments of cognitive dissonance, where expectations are upended, and the object—both familiar and displaced—elicits confusion, hesitation, or laughter. These shifts become entry points to reflect on our contradictions: between what we value and what we consume, what we believe and what we practice.

Material is central to my practice, but always considered in its relationship to the body, space, and narrative: plaster, wood, ceramic—as well as grapes, soup, ham, or cocktails—become the ingredients of an unstable, porous, and often participatory aesthetic.

My work is therefore driven by a desire to desacralize art while charging it with relational power. I’m drawn to what itches, what overflows, what doesn’t fit in the box—in short, to what cannot be digested. And it is precisely there, in that “indigestible” matter, that I find my sites of experimentation—where dissonance opens up critical space.