What mediums do you choose to work in and why? I try to 'keep missing a step' between Disciplines and media. Which is implied by my exploring a 'dislexic In between', isn't it?
I listen to Dance. I Install words. I sew painting. I Draw dis-placement, dis-function, dis-tortion.
How important is the ephemeral aspect of your work? I like my practice to be time consuming and resulting in ephemeral works. Because I like the Wisdom of the Absurd.
Like the needle of my sewing machine biting into the flesh of the paper, whilst biding together fragments of paper... I like this transient and fragile quality of my work, because it materialises the flowing and elusive quality of the artistic Quest (made 'flesh' in Dance). I like to dwell on the ephemeral. Guess I like stretching Time in Space.
Can you tell us about the relationship your art practice has to a dance practice? My work is inspired by my 'DIS-lexic' way of processing the world. Which I approach through the hyperlaxity of my body, and my moving between practices and media. I am a Fine artist who searches through a dance-based practice based on improvisation, fusing choreographic process & performance in the flow of a same Space & Time, thus giving flesh to my quest for the 'equation of an overlapping of categories and a slippage of levels', by being in the process, thinking through it and showing it as a result. And... putting a stop to intellectual masturbation. Sometimes.
I investigate a 'Double Axis of Dis-location', through the dislexic In-Between of 'Trans-lation', between and within Stretching, Geometry, Space, Time and Language. My interest lies in the tridimensional tension between a very physical approach of a 'Concept', its translation into abstract/linguistic/mathematical terms and domestic items/material/situations. To make abstraction figurative. Whilst keeping its methaphoric quality, whilst keeping it 'grounded 'into a physical practice that is about being 'centered'.
In the ‘Hunting for the Inbetween’ series your photographs feature a physical trace, an outline… Your work seems to deal heavily with boundaries and borders...Liked your association of ideas here: from the 'In-between-dance-and-Fine-art' to 'please talk about borders'. Yes I was trying to cut or sticky tape ‘through/across/over' the claustrophobic and authoritarian limitations that established 'categories' are, to suggest the 'beyond'. Was trying to create a new logic of classification. Like in 'My-friend's-hairdo-that-was-so-much-part-of-my-landscape'.
What or who inspires you?
Deleuze and his Rhizome, the pink contortionist at 'Britain's got talent', Yvonna Rainer, Francys Allys, changing gears in my car on my Island.
I am interested in the paradox within the notion of 'process', which is about the 'Now and Here' experience. But it also implies a 'forward', a direction, a 'becoming', a 'work in progress'. For me those sum up the 'elusive but pregnant' qualities embedded in the always 'middle of the Now' that the 'In-between' is, embodied in the flow of a 'constantly renewed Now' in Dance.
What are you currently working on? Currently working beautifully in my studio. And on a project, Yes, which is my In-between with your next question. Do you have any up-coming exhibitions? Watch out for 'Time Out' in October, for 'The Artist & the Institution, the Body & Fine Art: a DIS-lexic In-Between'. It may happen.
But let's not sell the skin of the bear before killing the bear, we say in French...
To see more of Sash's work click here