« J’ai grandi dans une famille de cinéastes. Je suivais donc mes parents sur les tournages, ils étaient très occupés et moi libre de mes déplacements. Je pouvais aller d’un endroit à l’autre : regarder les chevaux arriver, les armures briller… J’écoutais le « silence, on tourne » que mon père prononçait et qui signait la puissance de ma liberté. Je passais dans les loges alors que tout se jouait dehors, je sortais ensuite, grimpais sur les ruines du décor, munie de ces différents paysages sensibles en expansion simultanée en moi. C’est ce Kinema de mon enfance que je porte en moi, ce mouvement, ces espaces sensibles en expansion, que je continue à fabriquer aujourd’hui, quand on m’y invite. » sc _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ I grew up in family of filmmakers. I therefore followed my parents on shootings, they were very busy and I was free to move… I could go from a place to another : looking at the horses coming, the armors shining… I listened to the « Quiet, we’re shooting » my father pronounced, signing the strength of my freedom. I dropped in the backstage whereas everything was running outside. I then poped out, climbing the ruins of the setting with those different sensitive landscapes simultaneously in expansion inside me. It is this Kinema of my childhood that I carry, this motion, those sensitive spaces in expansion and the move of the bodies passing though that I keep producing today when I’m invited to. The gesture and the ceramic site « the mark of the emotions in the body », my mother as repeatedly told to my tender infant ears stories about her insite land, my imaginary travelled with that. I’m raising this landscape within my ceramics. In the places where I’m invited to perform, I mark the spaces with those signs. So the spaces become a bodyland in which the visitor and my conspirators can commit there own body and the move of their proper thought. sc