Only after our trip in Tokyo beginning 2016 it came to me the necessity of developing my ropes in a more personal way. The Naka Akira and Ricardo Wildties’s encouragements which have been a great help to me with my work last few years, allowed me to go deeper and evolve my research in order to develop my own style.
Obviously, the things didn’t go so easily and the first months were quite difficult. Be inspired and /or learning from the others give a main line and at that particular moment all the landmarks are disappearing. There was next an empty space that I may consider as a blank paper, and then finally a research period, mainly based on the feeling, than now I have to conceptualize so as to evoke those marks that define Ropesession style.
If I had to resume our vision before detailing it more, I would say: “Restyle the kinbaku’s roots integrating or developing more contemporary techniques about security, anatomy and communication.”
Very attached on kinbaku’s roots from Ito Seiu till eighties, for their values, of aesthetic as well as gestural, my kinbaku is aimed for reappropriating our forebears’ works. Our epoch saw the kinbaku evolving very fast at all levels and my will is, in my manner, to be the guardian of past generations inheritance including my vision and adapting it for the occidental partners.
The contemporaneous kinbaku brings a lot about security, model manipulation, anatomy adapt and communication. It seems interesting to use our generation tools in order to restyle the aesthetic of our ancestors as all those are influencing my work a lot.
A striking example, in my opinion, can be the model’s body manipulation. Effectively, in the modern kinbaku we use all the technics which allows us to less solicit and to preserve our model, looking for less pain. But what about we consciently make the choice to manipulate more oldschool? Is that can create an emotional intense breaking? What psychological impact can get out of this kind of communication less technical efficient?
Another outstanding example in another register is about aesthetic. It happened a certain moment my research observing my rope work, to find them deeply boring and without character. I looked back again into the past asking me why their kinbaku seemed more alive, is then I realized that my work became so clean that became impersonal and what gave life to our ancestors kinbaku was about this aspect little bit in disorder in their ropes.
Rather than looking deeply inside aesthetic concepts I would never really comprehend, not being culturally speaking able to really understand, my choice was to become immersed in and to try to feel my own feeling. Is there perfection inside imperfection? Which is the importance of the instant present on what it is the share between two, about what the observers feel? It that has an emotional impact on my partner and if yes which one or how much?
To continue this, I asked myself why some Japanese photographers have taken lots of photographs in a position which seem identical in the beginning. Why this choice? Is there an evolution, a progressivity between each negative? What significance was hidden behind all this, knowing that the Japanese are rarely doing something randomly?
To finish, after my beloved offered me a bonzai and some books concern them, I over seen some similarities between my rope work and those trees. Of course compare to a rope session, the bonsai seems totally timeless, but taking time to take care of it, I realized the importance of its architecture in order to obtain a certain harmony.
Observing the bonzai I was wondering myself about what could create the harmony. Obviously the aesthetic, but also what became, what it emotionally activates and behind all this, the necessary technique for obtaining this timeless nerveless so alive tree.
Is in this way that my work is turned naturally towards a three complementary pillar architecture, which are the asymmetry, the space and the deep. The asymmetry representing the non-conformism, the aesthetic bringing the visual and the deep representing the emotional intensity and life.