Could you introduce yourself and tell us a little bit about your background?

I am an artist-researcher specializing in visual arts and upcycling. As far back as I can remember, I have always started with photography - either through a camera or by creating imprints on everyday objects. My artworks evolve through a lengthy process inspired by seasonal cycles and permaculture, where each gesture offers the opportunity to create a temporary artwork with minimal resources and ecological impact. The process only concludes when an artwork enters a collection.

My research at École des Arts de la Sorbonne in Paris and at the Centre Marc Bloch in Berlin examines what we can learn from these art practices, particularly in relation to the circular economy and the circulation of alternative values: collective memories, beauty, time, and more.

I begin by taking photographs to observe my surroundings. I still shoot on analog film, being selective with my work - limiting myself to no more than one film per month. Once I feel connected to a place, I start collecting direct imprints from the landscape - whether shells, stones, vintage textiles, or even used post-it notes from organizations. This approach conserves resources typically consumed in photography: paper, chemicals, and frames. It allows me to create large but temporary installations through accumulation while minimizing gray energy: easy to transport, install, and reuse for other artworks or simply to return to my environment without further recycling.

My background has significantly influenced my work. I spent most of my holidays at my grandparents' farm in central France, observing how the light changed with the seasons and how everything else transformed accordingly: the landscape, flora, fauna, and farm labor. At home, my mother shared stories of the wild and friendly fields of her homeland in Madagascar. I've always blended these two landscapes. It was only when I was invited to exhibit in a show about Malagasy culture at Christie’s in Paris that I recognized the impact of my Malagasy roots on my artworks and academic research.

I also have a diverse background. I graduated from the École Normale Supérieure with a degree in economics, and after working in UN organizations and corporate roles in environmental sustainability, I decided to dedicate my time to my artwork and research. I graduated from the School of Arts at the Sorbonne, where I taught photography for five years while pursuing my artistic endeavors and began my research on “circular art” in collaboration with the CMB in Berlin.

Can you explain why you decided to work in Lisbon? How has it changed your approach to your project?

The light and the ocean!

First, the ocean. After many years living along the Seine, I wanted to give my family the experience of the ocean. I loved photographing it daily, capturing its ever-changing light and waves.

Then, the light! In 2021, photographs from my series “Ce qu’il reste de dimanches” [What Remains of Sundays] were selected to document the evolving landscape of Grand Paris. This ongoing series focuses on the tops of trees, water, light, and people on breaks, wherever I am, as I search for common threads. I began this approach years ago to limit the number of photos I take; otherwise, I would be a serial shooter - like Raymond, the autistic brother with a camera in the movie *Rain Man*.

Currently, my work is part of the public contemporary art collection of Seine-Saint-Denis, which encouraged me to follow the light and refocus on photography, particularly cyanotypes. This photosensitive ink, which I apply to vintage bedding sheets, allows me to capture the light of a landscape and the shadows of people and objects around me. The light in Lisbon is ideal for laying these large vintage fabrics in the sun to compose my images.

3°) Could you tell us what project you are working on and what you would like to explore in the coming months?

Next month, I will present my thesis at the University of La Sorbonne in Paris, reflecting on ten years of work on what I call “circular art.” 

Next year, I will be undertaking an art residency in Madagascar for the show *Memoria* at Fondation H. This is a tremendous honor for many reasons. It will be my first time presenting my artwork in my mother’s homeland, where I have always felt like a stranger. I will be collaborating with my dear artist friend Aurélie Mathigot, and our joint efforts are consistently magical. Additionally, I will be exhibiting alongside great artists whom I admire - two of whom I discovered in Lisbon: Georgina Maxim at ARCO Lisboa in 2022 and Josefa Ntjam, whom I met at an art radio event through a friend and curator when I first arrived in Lisbon.

Could you name one Portuguese artist you admire or who has inspired you?

Joana Vasconcelos! I discovered her work during a studio visit with the Lisbon Young Collector Circle, and her last show at MAAT was overwhelming, both in scale and detail.

Can you tell us about one spot in Lisbon that inspires you?

Whenever I can, I love how time seems to stand still in the Gulbenkian garden. With the recent reopening of the modern collection, it feels like we’ve stepped into a new era. Most of all, I enjoy walking through Lisbon, from old cafés to streets with views of the Tagus, going up and down repeatedly.

How do you see the evolution of the Lisbon creative community?

I connect with many artists from around the world, creating a vibrant atmosphere. Whenever I return to Paris, people are curious about the Lisbon scene. I particularly admire how young Portuguese artists are running their own spaces, like the GAAT museum. This mix of local and international influences is invigorating the art scene here, fostering a sense of community beyond that of nomadic artists.

Photos courtesy of Sarah Neale / @sara_neale_photography