"Dominique is searching for a new invisible space which only comes out of her body, beyond any intellectual meaning."

Takeshige Shinichi

I am a water body and I wish to remember how to swim on dry land?

My artistic focus is on investigating how art practice can become a way of sensing energies that exceed language, identity, and fixed form. Working across choreography, installation, sculpture, sound, film, visual scores, material processes, and electronic experimentation, I create situations in which bodies, materials, technologies, and environments are spaces for witnessing, perceiving and attuning to perpetual transformation, with the body as the very site for this experience. Rather than treating the media I work with as separate disciplines, I approach each through an embodied process of attention and deep listening.

The currents of my practice emerge from what I call the space of the nameless: a threshold where perception precedes categorisation, where intuition, sensation, and embodied knowledge are salient, without words. Space of the Nameless is also a space of strategic illegibility, where granular curiosity unravels against the plasticity of each body’s sense of space and time. Beginning in the inner landscapes, my work extends towards wider ecological and cosmic tempos.

Drawing from dance, ritual and votive objects in wisdom traditions I study and practise, I am guided by a simple proposition: energy is never lost, only transformed. This understanding informs both the concepts and material processes of my work. Materials migrate between projects, performances become installations, sounds become sculptures, scores become choreographies. Each work remains open, capable of reappearing in another form. Artistic practice becomes an ecology of continual metamorphosis rather than the production of discrete objects.

This approach also offers a response to contemporary cultures of extraction. Against systems that measure energy through labour, productivity, optimisation, or economic value, my work explores energy as relation, resonance, and futurity. I am interested in artistic practice as a place where pleasure, rest, dreaming, ritual, and collective imagination become ways of becoming porous to knowledge-at-large, and where technologies can participate in these ecologies rather than simply functioning to enhance and accelerate existence.

Across my work I return to the intertwined principles of Tantra, Mantra, and Yantra: embodied practice, vibration through sound, and visual or diagrammatic forms. Together they provide an orientation allowing diverse outputs to emerge as different expressions of a single inquiry: how we might learn to perceive, inhabit, and transform the energetic relations that constitute our bodies, our ecologies, and our shared worlds.