The basic of this sound action is to play the sympathies of the room's resonant structure, shaped by its architectural singularity,
and whose narrative path remains permeable to the present moment. This is achieved by using exclusively acoustic means of sound production generated by the body's movements.

My  first  inspiration  to  produce  a   continuous  sound  with  a  percussive  instrument  evolved   through  an investigative  process 
of  the  acoustic  qualities  of  the  performance   space.   I  picking  out  various   objects  and  implements  over  travels  tours,
and  in working  residency  I  have  adapted  this  piece  to  be  played on a  large  drum, which  is used as  a  acoustic  amplifier.
I  develop  an  intimate  affinity  with  the  materials  in  vibration.  I  have  to  evaluate  these  vibrations  in  my  body  at  different 
levels, to  be able  to  coordinate  my  postures and movements,  but also  like the archer with Kyudo,  tuned the mind to it. For give
life to these vibrations I have used, since 2008, an dextrocentrique circumambulation. These sounds are often compared  to certain  sounds  produced by synthesizers but also to the magnitude that an orchestra can. However, these sounds depends of the reflective
quality of surrounding surfaces, and on the volume of the performance space itself.
These sounds have unusual sonic textures, they escape traditional percussion registers. They test the limits of our perception,  from
infra to ultrasonic, by playing  phase shifts. They insert themselves  into the intimacy  of  matter, through  micro vibration, and we are presented  with an audio saturation by noise density. The flow of these evokes both restraint and excess, immersion and timelessness.

It is not a concert, it is not a performance, it is not a sound massage; it is not drone music, it's not noisy or improvised or contemporary; it's not a circus act or a choreography; it's not a satanic ritual, or a photo or video shoot for your smartphones or your electronic stuff.
It's "No Es" and that can only be beyond your comprehension.

The center of circle
the sounds I can produce with my device (a drum used as an acoustic amplifier, and a set of heterogeneous objects of various shapes and materials.) can only exist than through to my playing technique, even if I pay particular attention to the choice and modification I make of my sound objects, and of course the singularity acoustic of the room perform.
For about fifteen years I have been practising what in Latin is called a "dextrocentric circumambulation". "Circu" cercle mambulation" walk, means a circular walk around the drum (dextrocentric in tourn rigth). So unlike the percussionists, I am not a tapper or a scrubber, but a pusher. Pushing while turning is a continuous movement. Only this gesture allows to go in the depth of the vibration of the object in contact on the membrane what is impossible with a back and forth gesture. Like them, however, my work is oriented by suspending objects and optimising and attenuating their vibration. But in contrast to them, I consider that my body, in order to be more sensitive to this vibration, must be the first one concerned by this process.
Since 2020, I have started to transmit this technique, and my first lessons consist in learning to walk. To walk while learning to decrease the terrestrial attraction, because as there is a way to increase its body anchoring (qi or chi), it is conversely possible to diminish or even displace this earthly influence, which is an absorbing mass. Walking in a circle, can it allow you to move this physical and energetic center. By putting it in the center of the drum, you can become just a vibration.