My performances are driven by the question of the link, in its most concrete, sensitive dimension: how - by means of unprecedented gestures - can we link bodies in such a way as to create, through movement, the conditions for an encounter? Whether it's a dance with children and the elderly, mobile constellations on roller skates, a peat-brick throw or danced sculptures made from clematis vines, my work seeks to break away from the everyday, to displace our habits: By inventing a new relationship with the familiar landscape, by getting gardeners, oyster farmers and tennis referees to dance and reveal their unsuspected choreographic impulses, by hijacking our social customs - municipal polling booths transformed into fitting rooms - I invite bodies to suspend their habitual mechanics and, in so doing, open up to their shared, creative dimension. Because it harbors such potential for metamorphosis, nature - with its constantly renewed motifs - is at the heart of my work, water in particular, with its fluid mobility and uncertain reflections, bearers of ephemeral mirages. Anchored in real life, my performances are nonetheless interested in the gaps, the levitating spaces that distance us from it, attentive to that joyful discrepancy where the unexpectedness of a movement, the spontaneity of a form, emerge. Projects with re-activatable protocols, developed in vivo in contact with participant-performers, who make up a singular court of miracles where accidents can happen. Silver ball, a work now in the public collections of the CNAP, is emblematic of my research into the invention of devices through which we all expose ourselves to the amusing hijacking of ourselves, to the poetization of our ordinary gestures and our relationships with the elements of the cosmos.