Since 2011, I have worked on the implementation of random paintings and drawings made by robotized system.
The first series was produced in collaboration with LARAS. The initial stage was the elaboration of a random algorithm creating a different drawing each time on a surface established beforehand. The first robot we worked with, KUKA, is usually used for industrial set up and to reproduce very precise human gesture. It allowed us to develop a study on a variation of algorithm and formats.
After that first phase, I created my own robot, so as to draw a new and completely original series of paintings. The lines of the drawing are made from an algorithm that proposes a new drawing on a predefined surface each time with different kind of tools.
More about me on my website

Being primarily musician and violinist, the deeper and further my interest in moulding the music I am playing and making went, the stronger the need for expressing all that movement and fluctuation of the air we perceive as the sound reached out looking for other possible mediums in which they can be expressed.
At the beginnings of exploring new mediums, it is easy to suddenly find yourself out of your comfort zone, especially when the time comes for the physical realisation of a thought.
Finding “home” as an artist in residence in LARAS has not only been fruitful in bringing to life some of the projects and ideas, it has also facilitate an environment for thinking up new works and ideas that become more likely and possible thanks to the existence of the lab and people in it. The community that shows interest, sees and reflects on science, technology and art as intertwined fields, sharing alongside experiences or discoveries.
My first encounter of and with LARAS was for a residency during December 2015 for a research project aiming at developing an interactive installation called “Sensonarium”.

Projects and works that I have since been able to take from imagination to practice are the following
- exploring different ways of 3-dimensionalizing sound and notation (for an ongoing work that aims to be presented in the year 2021),
- manufacturing a bow with a laser cutter (made during February 2019, for a piece for violin with a prepared/laser cut bow by Alessandro Perini),
- creating objects that represented sound and sounding,
- performance of sound without sound, as part of my stage design for a music theatre piece “Selbstauslöser” by Johannes Kreidler that premiered in Volksbühne Theatre in Berlin on September 28th 2019.
These were realised in a residency period between March and Jun 2019. Created objects included laser-cut cubes and material for a gigantic sound wave (approximately 3m long and 82cm high 15cm wide). As I continue to work on the above-mentioned work of music-performing installation pieces aimed for presentation at a festival in the year 2021, in February 2020 I will begin a journey in realising a new performance piece (for violinist and multiple self-playing instruments, “Alone Together”) with the help and within LARAS.
More about me on my website

The performance took place in the context of the Live Art Festival Trouble#9 on April 2013 at the Halles de Schaerbeek in Brussels.
The theme of the Festival was « Crisis? What crisis? ». The project is an active air and sound performance portraying the exploration between Gaëtan Rusquet and Lucille Calmel of the notion of crisis, set in what one could feel is a dark minimized urban war zone, with a seriously playful technological touch… Battlefield experienced with paper towers, drones, fireworks...
The performance was made possible thanks to the support of different institutions and organisations, such as Les Halles, A Space For Live Art, the European Union Culture Program, the Digital Arts Commission of the Wallonia-Brussels Federation, Wallonia-Brussels International, iMAL and FabLab.
A particular thanks to the Arts and Sciences Research Laboratory, the LARAS - IRISIB, which provided their technological expertise to make this project happen.

Grow grow grow, ou comment donner à l’observateur la sensation qu'un monticule de terre respire.
L'idée de ce projet était de créer un moment poétique et de présenter une nouvelle vision de ce qui symbolise ici la terre. Le cahier des charges du projet comprenait les éléments suivants:
- Mouvements d’inspirations et d’expirations les plus naturels possibles.
- Longévité du mécanisme
- Motorisation la plus silencieuse possible
- Aucun élément du mécanisme visible (alimentation comprise)
- Simplicité d’utilisation une fois le système conçu et réalisé

Quelques mots de l'artiste sur la collaboration avec le LARAS:
"Le cahier des charges que j’ai cité plus haut a donné du fil à retordre à tous ceux avec qui j’ai collaboré sur le projet. Il était important pour moi de le respecter car cela garantirai « la magie » de l’œuvre.
Le travail a été plus long que je l’aurais imaginé, mais tout le monde a fait preuve de patience. Nous avons essayé plusieurs manières de procéder avant de trouver la bonne méthode. Ce projet a sollicité des compétences multiples, de l’ingénierie mécanique à la programmation. Je suis arrivée avec aucune connaissance dans le domaine de la programmation, cependant à force de travailler en binôme avec différents étudiants et parfois même enseignants, j’ai commencé à presque intuitivement comprendre cette logique qui m’échappais totalement avant. Au delà du projet, j’ai pu apprendre de nos échanges dans le travail, ce que je trouve très important.
J’ai humainement été très bien reçue, mon projet a été respecté et a même pu voir le jour grâce à cette collaboration. Je ne peux qu’être ravie de cette résidence."