You have used various interesting printing processes, from Risograph to rubber stamps – what's your favourite and why?
I don’t think I really have a favourite printing process and every project has to find its printing process. Stamps, for example allow you to compose unique and very different images from the same shape repertoire. I used them for Tamponville, by isolating precise graphical elements from existing buildings, generic materials (girders, concrete structure, bricks, boards) or elements that give a notion of architectural period, I obtain an alphabet of shapes, a sort of typology of the town.
These shapes, when separated one from the other, can seem almost abstract and it’s only when they are assembled that you can identify a building. What interests me in this process of assembling with stamps, is that it looks like the way a town can be constructed, where different periods, materials and types of use accumulate and are superimposed on top of each other.
Another thing that interests me enormously, is understanding printing techniques to play with them and accordingly adapt my project. Risograph or silkscreen printing allow you get involved in a very artisanal way in the printing process – to make colour tests, create printing accidents, or the possibility to turn the sheets to create different combinations, for example. These procedures correspond very often to small print runs where the author becomes publisher, printer and distributer: getting involved in this printing economy has a lot of repercussions on the artistic choices that one makes.