L’Écrin is both a sculpture and support object but it is also a space for experimenting and not to present a finished work. How did you work with this constraint?

My starting point was the idea of animating a few objects – the glove, the lifejacket and the fan – in an evolving multidisciplinary picture. Once a week I went to L’Écrin to transform the painting, by putting in space drawings, paintings and prints, with impromptu performances and video installations. I worked from projects and materials already made, to intuitively discover their arrangement, observe their relationship within space and between them. How does the visual poem react to my interventions? Unpredictability was also an important factor in the project. Without counting the two sessions of songs for the street, but the voyeurism of the passers-by, the proximity to the public square, the sound of the vehicles; all these performative elements came to fuel the work. Each visit at L’Écrin transformed me in turn, since each transition became its own performance. I considered each visit a picture in itself and a title came to me, which then influenced the next deployment. Here are the titles of the project as a I remember: Le grand verre – la chorale – la marée – la boite verte – la boite noire – le tapis rouge.