This project came into being in Japan, or to be more precise in the summer of 2009 on the slopes of a mountain near Kyoto. The heat of the summer, the intensity of the skies and the continual rustling sounds in the undergrowth surrounded its development. I had just met Romain Kronenberg, an artist and musician, during an artists' residency in the town of Kujoyama. We met up on several evenings on the huge terrace of this villa wide open to the sky and yet plunging down into the town, sharing those moments. One day we decided to work on a project together, with this Japan that surrounded us, the preoccupations and the directions of each of our work, the idea that no substance is perfectly stable and that night and day have a common curve. The first version of this project exists for spaces without stages (a house, gallery, museum...) We wanted to prolong and test the stage setting of 4 Song and propose a version for the theatre. 4 Song follows the movement, the flow of materials of time such as pulsations, waves, mixed particles of sound, bodies, light and images. We reinforce these sensations of passing through, of the traversing time with insisting and erasing certain motifs (the sea, currents and wind). Withdrawals, transmission, disappearances, suspensions, traces that can detect the most discrete forms of presence. We looked at that which moves away, that which comes close to us : how fast do these move ? What hold or what emptiness surrounds us ? What relaxed or tense forms accompany us ? We tried to be in the middle of things, truly present while listening to this, in the open air. The body plunged in the direction of a trajectory is a liaison agent, a language of liaison and separation, it is full of distances in the immensity of the world and its microscopic phenomena. The music, played live on stage, midway between submersions, accumulations and modulations supports the respiration of the space, its vibration. 4 Song, 2 men, 1 guitar and the flow of images in movement.

The music is played live on an electric guitar where the electronic effects displace sounds from rock music towards the sound material that I can then sculpt : I have produced an in depth piece of work on the equilibrium between discords and accords, harmony and the disharmony. Each cord played is thus suspended between both, thanks particularly to the work on beats ; two levels of notes, very close one to the other, in certain conditions, draw out a third sound, an acoustic phenomena called beating or amplitude oscillation. It is the play on appearance and the disappearance of these beats that troubles the balance of the harmonies and which creates the sensation of movement and travelling that the music produces.
These beats, animating the levels that I create with the electric guitar transformed by the electronics, to these sounds oscillating between pureness and chaos, I echo in images where the movement is also perceptible, often in a constant manner. By altering the running speed of the video and thanks to various computer tools, I bring together time periods generally perceived in a different manner : sea waves move to the rhythm of clouds in the sky, the material which constitutes reeds in the middle of a desert is close to that of a summer which we see rising from the earth.
Sounds and images are treated in a corresponding manner through the constant energy that minor variations (analogous and digital) bring life to.