I like the idea that my sculptures can be memory-objects, landscapes, although they don’t show much. I try to charge them with the energy of a precise moment or at least a memory I have of it while making them available to be used. I pick the ideas and shapes I am going to stretch from my close environment, starting from a very simple reading. I then see how I can build a composite shape meant to hang between two waters, in a state difficult to seize and define, borrowed from a few fields and different codes. I have often been to Ushant to live new experiences and find new perspectives on my work. Sometimes, the memory of a trip lives with me for a long time, and the desire to make a piece that summons it can arrive much later. During that residency, I made drawings and thought of new, more organic sculptures, rather similar to some of my older pieces. I made three wooden mural pieces for two exhibitions I was preparing right after the residency, called Niou-Izella, Touldreizand Veilgoz. Last winter, I started a series of charcoal drawings representing certain rocks. It was the first time I delved into this type of shapes. Each drawing was a sort of wandering in the meanders of the rock, like my nocturnal strolls on the tip of Pern. According to the light, the details and shapes appeared showing chaotic bodies hidden in the dark night.