'Having been a musician from an early age, I have always been attracted to experimenting with musical language and expanding its techniques. I quickly focused on drums and percussion instruments, understanding that they were privileged tools to explore the close relationship between vibration and gesture. The drums being an instrument where each member can be an actor in the sound process, and this in a direct way and not by a gestural combination. Because of its coordination of movements and the need to have a good body anchorage, this instrument is finally very close to the practice of martial arts. I taught drums for a few years in a music school in Grenoble, and I always started my lessons with one or two kata of qi kong or kung fu. I could appreciate the difference in the preparation of my students with and without this moment of introduction to the harmony between gesture and breathing,
allowing to stimulate the connection with the void.

Many percussionists in search of sound use the rubbing technique. Whether it be through a bow or directly on the membrane or another sound body. Like them, I tried for a long time in this direction, until I simply realized that it was impossible to explore the depth of a vibration in these conditions of movement, that of a gesture going out and another for the obligatory return, interrupting the continuity of the first and then the second*.
Like the impact of the backwash of a wave.

That's when I started to do my first circulatory walks, around a drum studied as a vibratory amplification.

It was a few years after I started presenting this project on the continent that I, during an action in the south of France, met a writer who came to ask me:
<< ...Do you know what you are doing? >>
Yes, I think I do, I resonate the space and what it contains by using an acoustic amplifier and the reflections of the surrounding surfaces...
<< yes he said, you do that, but also another thing that in Latin is called circumanbulation, I am an ethnologist and I have been working for several years on this subject... >>
I have remained in contact with this man and the documents he sent me afterwards helped me to better understand the phenomena that were difficult to explain.
 
Over the last twelve years I have developed this unique technique of drumming, and I have had the opportunity to perform actions in places that are sometimes very old, charged with the past.*² This has sometimes had consequences, both on the visible and present audience, and on other parallel dimensions... So I can affirm today that this vibratory practice has the capacity to open what could be described as a vortex.
A connection between the earth and the sky and I am only one of the agitators of one of these ancestral processes.

Last summer I was invited as a "pedagogical expert" to lead with others an artist residency in Stalt Wehlen, near the Czech border. At first I proposed a workshop that was familiar to me, based on the observation of cognitive biases and the possibility of interpreting them,*3 but I quickly interrupted this work because many people were asking me for an initiation to my drumming technique. Until now I had been reluctant to let people I didn't know touch my objects, considering that everything is fluid and magnetic energy. I have therefore overcome this fear, even if it may require some work afterwards. I have often wondered about the impact that the mystification and sacredness of objects and rituals can create.
Considering that everything remains within reach of everyone, it is only a question of will, faith or obedience.' <https://www.antez.org/>