The French pronoun "on" has several meanings. "On" can be synonymous to "we", or to "one".

It can also be used to express the lack of embodied or known subject.

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   After having drawn lines of matter by combining numerous multiform elements such as stickers, I came to drawing “on” with pen and ink, on large sheets of paper, and varying their colours.

   With repetition and layering, the « on » organise themselves or collide in expansive wefts that are reminiscent of a structure. It resembles a text. If those rows of “on” make me think of a text line, it is due to the balance between the drawing and the linguistic symbol of the French “on”. It is possible to see the “on” as a graphic entity in and of itself, or as a syllable, or as an impersonal pronoun, that reflects the notion of the indeterminate subject.

   Two levels of interpretation intertwine: the relationship between drawing and writing. When I write “on”, there is a complementarity between the movement of the hand that traces a letter and that draws at the same time, in the same stroke.

   From a writing standpoint, the symbol “on” invites interpretation.

   Indeed, what is its possible meaning? “on” as the opposite of “I”? “on” as a principal of the indeterminate?     The mind demands sense.

   From a drawing standpoint, “on” works as a visual entity, much like a dot or a stitch, a graphic symbol that, when infinitely repeated, forms a multiplicity. Visually, it gives the impression of a murmur. As if the effect of the “on” disappeared. There is no necessity to push interpretation further. And it is this duality between the plastic and linguistic symbol that interests me in creating a meditative space.

   This work is evolving over years: a time of ink drawings is followed by a period where the “on” speak (the relational line), then, lines of “on” in paintings once again, to amplify the effect of a grid.

   This project exists along a philosophic work led in a master’s thesis, in order to understand the value of the “on” in Heidegger’s writings.