The sneezes of my body and the continuation of the series

Following numerous requests from visitors, mediators or mediators, students... I decide to devote an article on the series of drawings "The Sneaks of My Body", followed by "When I play with her". The drawings were all made during the first confinement in 2020, in the context of the health crisis related to VOCID-19.

It is of course possible to order. The drawing command block is right after the image gallery, at the end of this page.

The drawings in question – explanatory text at the end

The sneezing of my body,
Drawings A4, black pen, red pencil and red pastel,
The Meeting, March to April 2020

In fact, I wanted to represent the waves, the contractions perceived in the air, as if we were crushing the ambient air where everything circulates For the spectator, it is indeed to make visible and give a visual idea to the spectators who do not know this world or is not aware (as he often uses the ears) Skin is a surface through which one boundary can come between oneself and the other, between its body and the world. The body refers to a « sound cave » to use the metaphor of Anzieu*

*Eloge du silence, Albin Michel, editions Albin Michel, collection Espaces libres, 1986

I develop an opportunity to present a silent world as a narrative in the form of images. Several drawings will compose their own series, since they repeat the same theme each time: listening to the sounds that I hear through my body every day, since I am deaf from birth. Absolute silence does not exist, as the composer John Cage once strongly supported. All these drawings hold a story with its sad facets: they were all made during The first confinement during the health crisis 2020 around the covid-19, i.e. from March 2020 to April 2020. Containment amplified silence. My body already lived in a noisy silence daily, but the silence of confinement, instead of being totally therapeuthic, doubled the chaotic cacophony of the body's sounds. The confinement has exposed the body, making it invisible, almost invisible because of the presence of many vibrations. The black lines delineate the parts of my body that I barely see. The blood circulation swells, the heart is a drum that the neighborhood could hear from their own ears, the joints of the body grin, crack, the muscles glar with each movement. Red is a color, which through a protocol that I had developed, represents the serious sounds but which seem to "talk" in arduous or passionate way. The drawings became a testimony of a silence perceived by the body, which became violent and mild to the faith

The question of listening is at the heart of John Cage's historic play, which dates back to the 1950s. For John Cage, this piece is not a desired provocation but the fruit of a very long reflection. The idea of silence is closely linked to his vision of the world. Silence allows the experience of an absolute certain, that is, of the universe as it actually exists.
More concretely, the piece consists of the sounds revealed by this silence, i.e. the noise of the grinning chairs, the sighs of the spectators, and other unimportant sounds. His conceptualized idea is close to the silence I perceive: there is always a noise, without hearing anything. It's a whole other universe I live in.

Noise also has the ability to leave prints like any living being does, on the environment or on our bodies. I try to remember, through graphic poetry but falsely violent, the passages of certain forms of silence, different sounds that I perceive. These works, or the series, represent a large part of my artistic work where I use the sound experience that will be transcribed graphically or materialized. It's a metaphor. The laughs (see title of the series in itself), it's like when you slide, you see when you laugh, your chest jumps... So it hits specific points. I could have called the chestnuts too, but it wasn't strong enough as a word. I wanted to make an allusion to a mockery, where there are a lot of little laughs that invade (like when you hear a crowd laughing, it's a big bumpaha finally)

When I play with her,
Drawings A4, black pen, red pencil and red pastel,
The Meeting, 2020