The roots of this performance is to play the sympathetic resonance of
the room structure,
individually sculpted according to its architectural singularity, and
which the plot of the show
remains permeable to the immediate moment, using exclusively acoustic
methods of production
and governed by motions which implicate the full motor capabilities of
My first challenge to produce a continuous sound wiht a percusif
evolved through an investigative process of the acoustic gifts of the
A large drum is used as a vibrational amplifier, with varied implements
rubbed on the skin to activate
its vibrational potential. These implements are positioned beforehand
around the drum for access in my circular walk.
After having personally developped this technique for eight years, I've
highlighted three key elements in the interrelationship :
.The atmospherique conditions of the space volumes for their influence
to the vibration propagation.
.The regularity of the ground leveling
.The specific nature of audience and the energy which emanates from the
( Energy in the etymological sense of the word "force in action".)
Today my knowledge of materials and shapes allow me to produce sound
vibrations that are often
compared to some particular sound of synthesizers. However, the
physical perceptions of my sounds,
have nothing similar to those issued by a speaker.
We are no longer in that frontal relation with the sound wave emitted
by the menbrane.
The immersion phenomenon in the sound material is no longer dependent
on the power of sound system, but by the resonance of surrounding
From larger through to smaller scales, all turns around an axis.
Mine, during the performance it's the horizontal drum.
The focus of my rotations is consciously refer to ancetrals rituals used
by numerous culture and civilization and called circumambulatoin