I create paintings on wood and monotypes on paper by working with encaustic paint, an ancestral process that uses beeswax. This medium allows me to make a palimpsest by multiplying the layers of wax and text. I try to reveal the inaudible by silencing all the codes of language; by blurring the signs, in order to transform the written markings into an artwork, in the memory of the invisible.

Different branches in the humanities have studied silence; philosophy, psychology, sociology and psychoanalysis have all analysed, segmented and qualified it. Over the span of several decades, these researchers and theorists have proven that silence is plural. The consideration of this plurality is at the core of my artistic practice. Among other things, silence can be gentleness, calmness, pondering, interiority, daydreaming. Conversely its expression is rather brutal; it is tension, malaise, rupture, threat, abandonment, death. It sets the rhythm, creating a space that makes language and writing understandable. I explore the complexity of silence and not its idealization, which represents a fantasy free from noise and disturbance.

In my artistic practice, I use writing as a vector since it is an act of silence and it remains silent as long as it is not read or transmitted. In order to make the different types of silence visible, I use several strategies of disintegrating and burying the language. Thus, I make use of destruction, self-effacement, white writing, the reappearance of erased signs, rewriting, deletions, superposition, I omit punctuation and sometimes even the spaces between words, probing in this way the overflow, the unintelligible which becomes empty in the same way as an overabundance of words which is lost and transformed into the inaudible. I execute the illegible in order to create a new space using references that we know, but which become unavailable as an idea of non-communicability. Although the text is thoughtful and sensible, it is sublimated by this process. This refusal to let my thoughts and questions be accessible is also an opposition to take part in this abusive self-disclosure that has become possible on various social media. This white writing, freed from all servitude to language, makes room for interiority.

During the creation of a work, a long and tedious ritual is established, a kind of ode to slowness. As the layers and withdrawals multiply, a scrambling is created, referring to the movement of thought that is continuously broken and simultaneously modified. I thus investigate the thought process and the complexity of consciousness. I inscribe with encaustic to slow down the flow of ideas, leaving a trace of this process, of what once was but is no longer.