The times we live in are marked by political and economic instability that concretely influences our living conditions, our choices, and our priorities. This instability is not abstract: it reshapes collective reference points, weakens certain balances, and often leads to questioning what previously seemed obvious. In this context, the role of art and craftsmanship becomes a question I cannot avoid.
I regularly ask myself the question: is what I do still useful? Over time, this question has evolved. It is no longer just linked to the production or function of an object. It refers instead to something broader: culture, transmission, and the responsibility we have, as creators, to keep certain practices alive.
Today, I consider art and craftsmanship as forms of engagement. In a context where everything pushes toward standardization, acceleration, and dematerialization, continuing to work from embodied gestures and to produce objects that carry a clear human intention is a choice. This choice is part of a way of resisting dominant logics that tend to reduce the value of cultural practices to their immediate profitability.
In this framework, making art is not limited to producing objects. It is participating in the continuity of expertise, visual languages, and material references that constitute an essential part of our collective culture. These contributions maintain a cultural ecosystem that, without them, becomes more uniform, less rooted in local realities, and more dependent on external systems.
Continuing to create in unstable times then takes on a political dimension. Not in the partisan sense of the term, but in the sense that it expresses a position regarding the current organization of the world. This amounts to recognizing that art and craftsmanship are not accessory activities, but necessary components of a balanced society, and that they should not be relegated to periods of abundance or considered secondary in the face of economic imperatives.
I also see in this practice a way to support a form of cultural autonomy. By maintaining local practices and developing objects and knowledge rooted in a territory, we help preserve a diversity that cannot be reproduced on a large scale by standardized systems. This diversity plays an important role, both in cultural identity and in the resilience of communities.
Through my work, I therefore choose to continue to participate in this cultural space, even in an uncertain context. Not because it is simpler, but because it seems necessary to me. Recommitting myself to creating under these conditions amounts to affirming that culture deserves to be actively supported, and that art and craftsmanship have a role to play in how we understand and inhabit the world.
It is, for me, a concrete way of resisting: by keeping alive practices that carry meaning, by contributing to an active cultural fabric, and by recognizing the value of artistic work as an essential, and not optional, component of our society.
