Each generation has its own inner library of images fed by one influent media in particular. Like a few generations before, mine was moulded by the world of moving images, but with one substantial change : for the first time ever video recorders and then computers have enabled us to control the flood of images, to replay, fragment, and keep track of it, to interfere with this implacable logic of movement. In a nutshell, I was one of thousands of little pioneers of home-made video editing.
It has become part of my artwork today. First I deconstruct and then rebuild, using images which, taken out of their context are no longer sacred but mundane. I always start by collecting bits of materials from video games, movies, and the news to create a new composition inspired by an imaginary picture issuing from popular culture and that I keep in mind throughout the whole process. This obsessive picture had struck me at some time in the past and now it fits in well with the new context I have chosen for it. To me, everything begins and ends with popular imagery, this great nebula which has shaped us and that we then contribute to shape in our life time.
In my work I try to regain control over the tyranny of image which drowns the truth in a sea of references and fragments our perception of the world. Ironically it all started with my generation. We have become the victims of overconsumption of data. But at the same time we are responsible for this overproduction of images that floods all communication platforms and contributes to make our world opaque and superficial. As an artist, I try not to be a passive part of this system. Then I tinker and shape composite images. I mix mediums and references. I reconstruct meaning through fragmentation at the borderline between the real and the imaginary.