I work with text, performance, installation and film to create experiences that both test out (and contradict) hypotheses about the lived experience and its relationship to the built environment. My work explores the dynamics of power, intimacy, and identity in a world where the lines between the real and the simulated, the ‘authentic’ and the performed, have become increasingly blurred. My practice is interdisciplinary by desire and by necessity: in addition to scriptwriting, I design and construct stages to investigate people’s relationships to their environment, which I take to mean not only their architectural surroundings but also their technological habits and the social, psychological and ideological dimensions of their experiences.

Drawing from my interest in experimental music, I view embodied listening not merely as a passive act of reception but as form of engagement. It is a tuning of the body's instrument to the subtle frequencies of power and manipulation, a method of reading between the lines of the proposed script, deciphering the unspoken cues, and exposing the hidden stage directions that govern our interactions, both online and off. Technology, the contemporary stage, has amplified the performative aspects of our lives. Our online interactions, like carefully rehearsed scenes, often mask a deeper spiritual vacuum and a yearning that transcends the limitations of the digital realm. 

Proceeding from an understanding of technology that both extends and complicates the human body's sensory apparatus, my work intends to comment upon, empathize with, and dramatize the follies of our hyper-connected yet hyper-individualized and lonesome world. I investigate the design of the built environment — both physical and digital — because infrastructures, whether architectural or ideological, are expressions of power. Studying and commenting on the flows of power inside networks of human and non-human relationships has become a recurring motivation for orchestrating my fictional scenarios, as agency is always negotiated in relation to existing networks of power. 

My role as an artist in these open research projects is to provide the initial spark, the framework for an investigation. I set up and test hypotheses about human relationships, pushing (sometimes already) absurd theories to their breaking point, leveraging the tools of art and design to unpack and display the theater of power, laying bare the mechanics of this carefully constructed reality and inviting collaborators and audiences to engage in the art of "being-like and being-with." As a bilingual French-American artist, this strange, never-ending process of adapting and communing with new environments, new modes of operations, and new languages is central to my work.

My practice as an ongoing informal research project, proceeds as a critical investigation into technology's relationship with our bodies, our spirits, and the very fabric of our social interactions. It is accompanied by my commitment to a daily practice of both chanting and drawing, a disciplined offering that provides me with a great sense of freedom and agency by keeping me in a continuous improvisatory rapport with the present moment — the raw stuff of now.

Ultimately, my work seeks to unpack and understand the workings of our shared reality, the codes that shape our desires, and the structures that both hold power over and enable us. I endeavor to continue to stage environments where empathy, joy, humor and sadness can all be experienced and where we can collectively interrogate, reflect or lament the paradoxical confluence of forces that shape our lives.