After conducting research through improvisation on the prepared piano, I am currently developing stage projects that broaden the scope of the piano and renew its instrument making.
What drives me is to give substance to this experimental treatment of the piano through composition and stage performance. For me, it is about inhabiting the piano in a different way — exploring its history, challenging its conventions, the ways of playing it, hearing it, re-enchanting it. And this is always done through a cross-disciplinary approach, where music inspires and is nourished by the visual arts, dance and theatre.
I often create my shows based on a piece from the repertoire. My choice is made intuitively — by the nature of a fragment, an emotion, an event, or the memory of something absolutely moving that leaves a mark and connects me to a work. I am connected to it perhaps because I have spent a long time with it, working on it, reflecting on it, absorbing it, performing it in public… The piece then acts in retrospect like a ghost that haunts me, a recurring object, an insistent presence.
I work on it in a kind of decomposition — then recomposition of the material. But what happens, what takes place, is a moment when sound reasserts itself, becomes the primary thing again — a free sound, freed from the rules and laws imposed on it by musical tradition.
This practice of decomposition is not destructive but generative: it opens up the work to new possibilities of existence, to other modes of listening. It is my current, non-exhaustive way of inventing my own musical forms and rules.
Beyond the musical material, decomposition becomes a true mode of thinking. Freeing oneself from inherited gestures, questioning the customs and constraints that structure our relationship to classical music, undoing dominant representations: these are all ways of reappropriating a language, a body, a way of listening.
Recomposing then means inventing new grammars and new architectures — creating new arrangements that question our relationship to heritage and creation. Thinking of creation as composting: where what is undone nourishes what is to come, materially and spiritually.
A few dates :
In 2021, I created Pianomachine, an instrument fitted with an electromechanical system. Several projects will emerge from this device.
In 2023, I developed another instrument with Anatomia project , a grand piano that can be completely dismantled and is capable of “flying” on stage.
In 2025, I created An additional country, a show for children with sculptures of piano parts made by Maeva Prigent.
Since 2026, I have been conducting new research with a device that transforms a Disklavier piano into a physical simulation engine via the Max/MSP environment. Projects in progress for 2026 and 2027.