DRAWIN'MUZIK

By developing my concept of Drawin Muzik, I work first of all on the gesture. This involves not only the hand that holds the tool but also the body as a whole that generates the final movement. In order to trigger this impulse, I imagined collaborating with musicians.
Under the effect of synesthesia, the sounds produced by the composer will give me colors, so this is the second influence that I will experience on my Drawin'Muzik concept. In order to be in phase with this phenomenon, I deploy my perception thanks to an extreme concentration, I dedicate my body and my senses to the total listening of sounds and notes, I "bathe in the music". I enter a trance triggering automatic, uninhibited writing.

On the first stage I throw and I expel, I expose myself by displaying my maieutics. When I draw, I offer a reading that can however be interpreted, my characters do not follow academic rules. I transmit my appearances by refusing illustration. Even if its violence and its force can experience differences in intensity according to the sessions, my line creates a graphic link between the different productions.

The second axis of investigation focuses on the moment of creation.
My studio work follows a protocol consisting of several stages: the creation of the background, the contemplation and the final phase of the black line. Each stage induces the next, I do not produce on the basis of sketches, it is the trajectory and the progress that interest me and require interest for me.
For the Drawin'Muzik, I will try to realize my works on a given time and preferably in public. This constraint allows me to put myself in danger and motivates, through the secretion of adrenaline, a spontaneous, raw and pure creation (without artifice) made possible thanks to the mastery of the tool.
The collaboration with a musician will therefore be part of a time frame, with a beginning, a duration and an end (I never retouch the drawings later). This introduces my creation into a different field, visual Art being more inscribed in space. My practice therefore makes it possible to pierce the borders that I consider porous. By representing the music, I place it in space while by following it, I integrate the drawing in time.
My peregrinations on paper will also influence the musician(s) who will react to the use of certain colors and to the shapes proposed as well as to the gestures. The end of a graphic composition may also induce the end of a musical composition. The dialogue is real and the proposals nourished one by the other.