​Curatorial Note - Sound Archaeology

​

My sound practice began in the late 1970s, with a Hammond organ and a Leslie speaker.  
From the very beginning, sound was a space - vibration, movement, light.
In 1982–83, a Roland Juno‑60 opened another territory. I recorded my first compositions by layering two cassette decks - an instinctive, handmade form of multi‑tracking.

The following years were marked by improvised concerts, dismantled instruments, early synchronizations, and technical discoveries born from curiosity and necessity.

In 1988, an Atari computer and Cubase finally structured this gesture. The D10, the EPS and the TR‑505 formed a first studio where, in 1990, a particularly prolific period emerged.

In 1992, I sold all my equipment, but kept the diskettes, the cassettes, the traces.
During this period without instruments, listening took over: a deep immersion in space music, especially the work of Jonn Serrie, which shaped my perception of sonic space.

From 1999 onward, a long process of preservation began: Atari disk images, Pro24 and Cubase 1.0 files, EPS diskettes, samples, analog synthesizer sounds.
These materials were extracted, converted, migrated, reorganized, then listened to again - like unearthing intact fragments.

Meanwhile, the piano remained present, keeping the gesture alive.

These recovered traces, these reactivated gestures, are what nourish the sound works presented here today.