What follows describes the process that underpins her art practice and the way it relates to her research activities in the humanities.
She is embedded in the Anthropocene and takes part in initiatives seeking to alleviate its detrimental manifestations. She consumes content about ecology, a potential post-anthropocene, language, environmental philosophy, spirituality. She reads, and meditates. She is a researcher, a teacher, and an artist. She is French and lives in France. This is her breeding ground.
What she believes to be her subconscious releases images and sensations up to her consciousness. They are indexes of the paradoxes, difficulties and unresolved questions encountered in (1). But these she does not know yet.
She translates those images and sensations through a painting. Watercolor, color pencils, and digital paint are used to create an ethereal atmosphere, where humans’ footprint is erased, smoothed off. Acrylic is also mobilized in places, to increase saturation and plasticity on specific focal points.
The painting is complete. She now observes it, feels into it, and puts into words what it most obviously conveys to her. This step allows her to identify some of the paradoxes, difficulties, and unresolved questions encountered in (1). They are indexed by this particular piece, working as a tarot card: encapsulated by visual shapes, framed, they become accessible.
Finally, she uses these freshly unveiled paradoxes and questions as inspiration for her research. From words to sensations and images, and back to words. From science to art, and back to science. Art-fueled science. Heartfelt science.
