This project takes its title from neurology and has its origins in a series of investigations into the practice of using firearms, namely shooting. Visits to shooting clubs in Brussels led to interviews, written notes and photographs, which formed the raw material from which the various works were developed: an installation, a written text and a series of drawings. My approach is not documentary in nature. Beyond the issue of armed violence as an anthropological and societal phenomenon, it also focuses on questions of space and representation within a specific context, as well as on the symbolic power of images used as targets. This context is, in fact, rich in connections between the ways of seeing and the idea of our relationship with others: to aim is to look in the direction of a target to be hit. Figuratively speaking, this means harbouring an intention. When it comes to shooting, the literal and the figurative converge in a striking way. Ethics can be defined precisely as this intention that underlies the subjects action towards others. To aim with a weapon is to align the geometry of a gesture, a gaze and a purpose; this alignment must produce the correct trajectory. But what is it that is truly being aimed at?

(Clic on the picure to see the slideshow)

The direct matching hypothesis, 2011. Slideshow, graphite drawing on paper, metal structure. 270 x 240 x 400 cm

Mirror Exercise, mirror, Digitalprint, Stickers 49,5 x 61,5 cm

Plastiline song, Graphite sur papier 50 x 63 cm

Impact-test 1&2, Graphite on Paper, 26 x 37,5 cm

Palissade, Graphite on Paper, mirror foil, 52,5 x 37,5 cm