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    Ce qui est fascinant dans l’art c’est qu’à la manière de certains lichens il peut se rattacher à tout ce qu’il souhaite et créer une symbiose commensaliste.
N’importe quoi adjoint d’une intention d’« art », si on lui en donne le nom, se voit attribuer un statut et un regard différents.
Par cette maxime, l’art m’apparaît non immuable, capable de revêtir toute idée sortant de mon imagination, et cette évidence transparaît dans ma pratique.
S’axant autour d’une certaine forme de recherche et de curiosité, mon travail touche autant à de l’illustration purement esthétique qu’à des sépultures sacralisant des corps sans vie, à des piles patates qu’à la création de micronations.
J’aime m’interroger sur ce que l’on occulte, me poser des questions que je ne comprends pas et savoir que tout acte a un sens qui se révèlera par la suite.
    What is fascinating about art is that like some lichens it can attach itself to anything it wishes and create a symbiotic commensal symbiosis.

Anything with an "art" intention, if it is given the name, is given a different status and a different status and a different look.

By this maxim, the art appears to me not immutable, capable of taking on any idea coming out of my imagination, and this evidence transpires in my practice.
Focusing on a certain form of research and curiosity, my work touches as much on purely aesthetic illustration as on sepulchres sacralizing lifeless bodies, on potato piles as on the creation of micronations.

I like to wonder about what is hidden, to ask myself questions that I do not understand and to know that every act has a meaning that will be revealed later on.





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01.F Micronation


2016/
-
01.F.a Symbols 2016 ︎︎︎
01.F.b Linguistics 2017 ︎︎︎
01.F.c Administrative 2017 ︎︎︎



-/-

︎





    Proxima b is a micronation project dating from 2016, and in retrospect my first attempt at world building.

Everything was thought out to try to make it a real protonation, to make this project legitimate in the eyes of the other micronations, and even the nations themselves. In order to do this, the whole project was divided into several steps following a precise construction plan.

First of all, to find a place to establish this project. It was important to have something concrete, a real territory so as not to have the impression of being only in the fictional. So I started my legal research of exploitable land.

I was interested in the existing and recognized Terrae Nullius, like the one known today as Liberland, as well as in the cadastres of territorial separation (for example along the Rhine between France and Germany), however all that was impossible, everything already belonged to someone or to some state entity.

Even the Arctic lands, the last bastion of potential terra nullius, were closed to me, both because of their international political status and because the Antarctic Micronational Union refuses newcomers.

After having fruitlessly studied the treaty on
Antarctic Treaty, I undertook with the help of a Doctor of Law to analyze the Space Treaty of 1967 to see if the rumors concerning certain legal loopholes are true, which is the case.

It is enough to be a citizen and to claim a planet out of the solar system to begin to advance in my project.

Proxima b Centauri was the ideal candidate because of its status as the closest exoplanet. So I began, still with the same legal help, to write "letters of demand" that were sent to the main signatories of the
signatories of the space treaty. From Donald Trump to NASA, all were aware of my demands and no one expressed a negative or positive opinion in the 6 months following the sending. This meant, in international law, that they agreed to it.

After that, it was necessary to add more consistency to the project, the bases being acquired, the flag began its setting in motion.

It crystallized in the form of a large black flag with three holes representing the solar system of Proxima b composed of as many suns.

This was followed by the conception of a language that would launch my interest in linguistics. It is of course, with hindsight, full of flaws. The fault of a self-taught learning as well as a lack of spelling and grammar due to an elementary school cycle to which one does not pay much attention. Even so, this ersatz language was built in 6 months on the basis of Southeast Asian grammar, spelling and syllabic construction playing on a slang steganography based on Louchebem. Soon afterwards followed its own unicameral alphabet.
At that time, once the territory, flag and language were prepared, it was undertaken to find citizens, which, surprisingly, was quite simple.
This micronation currently has about a hundred citizens from different countries around the world: France, Switzerland, Spain, the United States, Lithuania, Japan for example.
I was still the sole owner of Proxima b du centaure and it was rumors of a putsch that convinced me to divide the territory into equal shares for each of the people who had chosen to join the project.

In addition to the deeds of donation of plots of land (which allow anyone who wishes to do so to secede and create their own micronation), passports began to appear with other official documents.

The passport is of course to be in order and legally usable everywhere, of course it is very likely to be refused at the border with this type of document, as it was the case for a citizen of this micronation who could not cross the Swiss border, or another who after an hour with customs officers could finally, thanks to his French passport, enter American territory.

A discussion space was set up and allowed everyone to make their voice heard in order to take the big decisions in the most democratic way possible.

It was thus decided, given that on earth no law of any country foresees what would happen when faced with laws coming from an extra-atmospheric civilization, that any proximal law would take precedence over an earthly law.

Each citizen is therefore free to set up his or her own laws as he or she sees fit, and no abuses have been reported for the moment. for the moment.

Later, when I graduated, several hundred square meters were requisitioned as a temporary embassy and residence visas for non-citizens were put in place in order to enter the Proximan territory.

The Proximan anthem was played there that day. It was named "Ej yal rus mroxiap b" and was the result of a collaboration between myself and two Proxima B citizens. One with whom instrumental track and text came to life, and the second who gave body and voice as a performer.

An installation of several hundred kilos of earth placed circularly on a diameter of about eight meters served as a stage, in order to remind us, inhabitants in the making of Proxima B, of our link to this planet, which, far from the eyes, remains no less close to the heart.

This project, in which I invested a lot of time, was a revelation for my artistic practice. It opened my eyes to a way of working that I really liked and the exploitation that could result from it.
It was therefore, I think, the beginnings of what I am trying to create today with my current projects as well as a much more developed attraction for research, whether scientific, artistic or legal.



    Ce qui est fascinant dans l’art c’est qu’à la manière de certains lichens il peut se rattacher à tout ce qu’il souhaite et créer une symbiose commensaliste. 

N’importe quoi adjoint d’une intention
d’« art », si on lui en donne le nom, se voit attribuer un statut et un regard différents.

Par cette maxime, l’art m’apparaît non immuable, capable de revêtir toute idée sortant de mon imagination, et cette évidence transparaît dans ma pratique.

S’axant autour d’une certaine forme de recherche et de curiosité, mon travail touche autant à de l’illustration purement esthétique qu’à des sépultures sacralisant des corps sans vie, à des piles patates qu’à la création de micronations.

J’aime m’interroger sur ce que l’on occulte, me poser des questions que je ne comprends pas et savoir que tout acte a un sens qui se révèlera par la suite.

    What is fascinating about art is that like some lichens it can attach itself to anything it wishes and create a symbiotic commensal symbiosis.

Anything with an "art" intention, if it is given the name, is given a different status and a different status and a different look.

By this maxim, the art appears to me not immutable, capable of taking on any idea coming out of my imagination, and this evidence transpires in my practice.
Focusing on a certain form of research and curiosity, my work touches as much on purely aesthetic illustration as on sepulchres sacralizing lifeless bodies, on potato piles as on the creation of micronations.

I like to wonder about what is hidden, to ask myself questions that I do not understand and to know that every act has a meaning that will be revealed later on.









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