The roots of this performance is to play the sympathetic resonance of the room structure,
individually sculpted according to its architectural singularity, and which the plot of the show
remains permeable to the immediate moment, using exclusively acoustic methods of production
and governed by motions which implicate the full motor capabilities of the body.

My first challenge to produce a continuous sound wiht a percusif musical instrument progressed
toward an investigation process of acoustic potential of performance space.
A large drum to be applied as an vibration amplifier for some miscellaneous objects ochestra
which are rubbed one the skin surface. The device its installed beforehand around the drum,
to allow a circular walk. After eight years to develop this personal playing technique,
I perceive the highlighted between three key elements in inter-relationship :

.The atmospherique conditions of the space volumes for their influence to the vibration propagation.
.The regularity of the ground leveling
.The specific nature of audience and the energy which emanates from the venue.
( Energy in the etymological sense of the word "force in action".)

Today my knowledge of materials and shapes allow me to produce sound vibrations that are often
compared to some particular sound of synthesizers. However, the physical perceptions of my sounds,
have nothing similar to those issued by a speaker.
We are no longer in that frontal relation with the sound wave emitted by the menbrane.
The immersion phenomenon in the sound material is no longer dependent on the power of sound system, but by the resonance of surrounding structures.

From larger through to smaller scales, all turns around an axis.
Mine, during the performance it's the horizontal drum.
The focus of my rotations is consciously refer to ancetrals rituals used
by numerous culture and civilization and called circumambulatoin sinistrocentrique.