I’ve been here for a long time, almost 15 years in London. I came to study here and I stayed. I felt quite comfortable with words, I wasn’t sure I could use them well at all and I could not… I was pretty bad at French already! I think misunderstanding makes you use your imagination more.
A lot of my narratives or stories, they can exist as a painting then again as some piece or performance or a film and I quite like this idea that they’re always being understood differently because each time it’s a new story or it’s a new way of expressing it. I like this idea of a direct communication, it’s a film, it’s a video or it’s an object, but it pretends to talk to you. This idea of being in the same, you’re almost inside an artwork, you’re totally immersed.
Often I remind you you’re looking at an image but at the same time I’m taking you somewhere I think quite personal. Bits of things left by my grandparents, they asked me to do a video, this video then explaining things to show you around. It’s the viewer that decides what they want to believe as well, what they want to see, what they want to get. The viewer is the boss.
You see that window; this is now a real window. I don’t know if you can guess but look, that’s real, that’s not. I really like proposing vision, then you make your own image.
The Whitechapel show is much more playing on the idea of sensation and clichés and emotion; how do you translate that sensation of the smell of dry grass scent on the skill? How do you translate the sensation of the touch? Yes, it’s like creating stories, but I think it’s less about lies, more questioning what is it we’re seeing all the time and what is it we’re understanding. I think it’s also quite deep anxiety in the work, playing with anxiety in a humorous way, existential almost, so questions. But like putting water from one teapot to another is just pure fun.