Praxis

As a researcher-practitioner, I adhere to a vision of returning to the things themselves and of research using multiplicity as a tool, not for the purpose of precision of thought, since my practice embraces incoherence and always leads me towards an infinite density and plurality of subject facets, but rather as a means of touching on what appears to be essential in relationships to oneself and to others. For me, this essential is unilaterally unnameable.

Rejecting the idea of knowledge that is precise and unambiguous, I aspire to practice creative research as a moral, aesthetic, metaphorical and transgressive scientific method, with multiple paths and voices. Whether I’m tinkering with things or working on collective creations, my experience of what might be termed “the essential” finds meaning and form when narratives multiply, gradually circumscribing its contours.

Praxis and friendship

A researcher is expected to be clear, concise, precise, eloquent, confident and productive. Every day, I suffer the failure of saying and taking things head-on, and yet I manage to develop an artistic practice that is ever more gratifying and stimulating. Being the mother of a child excluded from the dictates of performance, and at the same time finding myself excluded from the dominant circuits of the arts economy, has not led me to a less creatively and intellectually enriching life. This shared happiness, on the margins with my daughter, gives me the courage to pursue a practice that welcomes failure, ambiguity, fragmentation and ambivalence.