Artistic statement of intent

Nourished by spiritual legacies of all kinds, religious and lay, I explore what they seem to me to have in common in their way of apprehending space-time. I try to reveal "modes", I try to express the capacity to be from one incarnation to another. It's less states or fashions that I want to share, it's less a form than an energy that I want to let through or persevere.


I was reading Spinoza on the New York subway, heading to Altmejd’s workshop.

The time of travel, of reading, of my reflection, I then felt free to cross them as I liked all the others, in the words of Ibn Arabi, we were "the sons of the moment ".


Transparency, light, smoothness or sharpness are all opportunities for me to focus on the expression of speed. "Greatness that measures the relationship of evolution to time," the dictionary tells us in a classic physical language. Contemporary physics, via its quantum field, discusses or rejects the idea of an objective reality of space-time. It experiences a historical rapprochement with philosophy by making this reality depend on observation, that is, by structuring it from subjectivity. Henceforth, to a certain extent and in one of its dimensions at least, the subject is his own space-time. This confusion or unification - according to whether one has a rather pessimistic or optimistic vision - is to live. "Where is your form?” I was asked at the fine arts of Paris. I answered that this notion of aesthetics is at the same time magnificent for its power of identity or its pedagogy and derisory by its finitude, which makes it often arrogant - or even coarse - when it is satisfied with itself. At the end of the 20th century with Bourgeois, Asawa or later Kapoor and Neto, the sculpture seems to explore more consciously "the interiority", I would say "informité" or "aformité". The new British sculpture, of Gormley, Humeau or Nourry explore this momentum; Mathieu Merlet Briand also in my opinion. "Amin", I met Todd Von "Ammon" of TEAM gallery, we are bound by this root from the origins that invites us to be the heirs of this lightning.


If we seem to be on the way to a gradual acceptance of the whole "wave", (relativizing very powerfully our old attachment to the corpuscular form, it continues to exist, that it is a path, that it also participates in life, that the incarnation that it only temporarily propose) it constrains the infinite, by the imposition of its rhythm, it excites it. It would then be the balance between the form and the lightning from which the tension, the excitement and the existence would be born. Are its feeling and manipulation not privileged means of connection to happiness?

If Bush thought he was expressing happiness by cynically declaring that he would win "because Gohr knew Merlau Ponty", it seems to me that he rather expressed death because it is experience, just as excitement, as a quest for meaning, which we realize we need to live happily.


One of the stages of my initiation trip to India was at the Ashram Ramana Maharshi and I then created a spiritual association 3 years ago: sesame, and published illustrations in Le Monde des Religions. The goal is to make "descend", in any case "circulate" these abstract energies in matter, in the concrete of the sensitive field, or even the political field. I also did art installations for concerts at the Collective 23, at Capella, Batofar, Café de la Presse, in warehouses. With a political dimension, therefore, they are part of the public space, schools, roofs or places. In the wake of Jean Jaurès or Luc Ferry my art is an educational scope, it is the movement of knowledge, the impetus of the analysis, one would say in philosophy, the descent into the material the esoteric would say.

Luminous totems between painting and sculpture, my productions are incentives for social travel. Perhaps the new humanists, humanitarian, will understand that no state overrides another but that it is important for the health of being, to have the opportunity to change.

I learned from mentors like the official sculptor for the French army Nacéra Kaïnou or other contemporary artists of whom I am close like Jacopo Baboni, Rachid Koraïchi or David Altmejd for whom I work in NY. In particular, I invested a lot in the exhibition he is currently showing in Hong Kong for White Cube.

I listen to them as they listen to light, we are "servants" or "actors" of "light", in Arabic we are "Abde" - "nour".