How do you describe your own art practice?
I work like a writer who doesn’t write. I try to make distant, sometimes dystopian, narratives coexist. It is a work of archiving, patience, and reconstruction.
Which question or theme is central in your work?
I am impulsive, repetitive, obsessive. I believe things start from there. I have never questioned what is central because what comes back does so despite myself. It’s like a neurosis.
What was your first experience with art?
An exhibition of Carol Rama in Turin. I grew up being told that I wasn’t good at using my hands to build anything. In that exhibition, I realised it didn’t matter at all.
What is your greatest source of inspiration?
I don’t have a particularly dreamlike approach; I’m interested in pragmatic things, and my studio looks like an office. However, I believe the way one leads their life can facilitate work. I am fascinated by the city and the neighbourhood I live in. The studio I share with Thomas Liu Le Lann is inside the Centre Commercial des Cygnes, an absurd place, stuck in time. There are shops without identity, where you can buy random stuff. There’s only one bar, called Lady B, frequented by people who read the Tribune de Genève and talk about how Geneva was better before.
What do you need in order to create your work?
I don’t need much, just an idea, whether good or bad, and a bit of patience.
What work or artist has most recently surprised you?
I would say the General Idea exhibition at the Gropius Bau.