How does an idea become a work? How does a vision become a project that others want to take part in?
In my coaching, I work on this passage: from what we feel and imagine to what we can create, articulate and share. I work with artists, artistic directors, festivals, associations and institutions.
Tell me about your project ↗Why I offer coaching ↓
01 / The purpose
We can carry an idea for years. We can speak about it with passion, accumulate notes, references and possibilities, and still find it difficult to begin. A festival, an association or an institution can face the same difficulty: many intentions, many activities, and a vision that remains hard to formulate or put into practice.
The purpose of my coaching is to give that vision a form and work on the conditions that allow it to exist. What are we trying to create? Why does it matter? What gives it its singularity? Who needs to be involved, and how can we bring them into the project?
I connect these questions with concrete work: defining an artistic direction, making choices, structuring a project, communicating it and organising its development. I want the people I work with to understand their own choices more clearly and become more autonomous in making them.
For me, the project, the way we speak about it and the relationships through which it becomes possible belong to the same process of creation.
02 / Who I work with
I address this coaching to people who create, and to those who build the contexts in which creation can happen.
I work with artists at different moments of their lives: when a practice is emerging, when a project needs to take form, or when an established trajectory calls for a new reading.
Artistic identity, projects, expression and professional relationships
I work on the vision behind a programme: what connects its choices, what experience it proposes, and how artists, partners and audiences can recognise its direction.
Programming, coherence, positioning and the relationship with audiences
I work with those who need to articulate a shared project, bring a team around it and connect artistic ambitions with the means available to realise them.
A shared purpose, collective choices and the conditions for action
03 / My approach
How can I make someone want to enter an artistic world? How can I make the complexity of a project accessible? How can I speak with conviction and remain faithful to what I am trying to create?
I understand seduction as the capacity to draw someone towards a vision, to awaken curiosity and make an encounter possible. An artist gives others something to imagine. An artistic director does this too: through a programme, a place, a constellation of works and people.
That is why I work with words, images, the voice and the body. A dossier, a conversation with a patron, a presentation before a jury or a meeting with a team each creates a particular relationship. I want us to understand what happens in that relationship.
I seek accessible complexity: the precision that allows someone to enter a thought and want to follow it further.
04 / Overcoming procrastination
When a project is constantly postponed, I want to understand where the passage to action becomes difficult. Is the intention clear? Is the task too large? Is there a fear of exposing the work, or a method that needs to be reconsidered?
I ask us to identify the precise difficulty. “Develop my project” can contain a hundred different tasks. Writing three lines about it, choosing an image or preparing a first conversation gives us something we can actually work on.
We choose an action small enough to begin and meaningful enough to move the project. I want the idea to meet a material reality: a text, a sketch, a sound, a decision or an exchange.
I work on objectives, priorities, concentration and the relationship between ambition and available time. We define what can be done now, what depends on someone else and what needs another stage.
We look at the result, discuss what it reveals and choose the next action. Confidence can grow through this experience of making, testing and continuing.
05 / The material of our work
I adapt the focus to the person, the team and the project. These are some of the questions I bring into our work.
I work on artistic, cultural and social identity; influences, affiliations and the questions that persist from one project to another. For a programme or an institution, I ask what connects its choices and gives them a recognisable direction.
We move between intention and structure: objectives, strategy, collaborators, production, resources and budget. I want the practical organisation to express the project’s artistic thought.
I work on the dossier and the pitch: the first sentences, the place of images, the relationship between an overall vision and its details. We practise different durations and situations, from a brief encounter to a developed presentation.
I work on verbal and pre-verbal expression: posture, voice, attention, distance and the intimate, social and public spaces of an encounter. We explore how to face another person, sustain attention and speak with presence.
06 / How we work
I begin with what you bring: a question, a difficulty, a work in progress, a programme or a collective project. We choose a format in relation to that starting point.
I work directly with you on your practice, your responsibilities or a particular project. We can focus on a text, a presentation, an artistic direction or the choices that will allow you to move forward.
In person or at a distance
I bring practical exercises, presentations and discussion into a small group. Each person’s questions become material for the others; a team can also examine how its members understand and carry a shared project.
In person · groups of up to 6
I also use introductory videos and recorded training material to develop the conceptual foundations of the work. These offer another way to approach a question and return to it at your own rhythm.
Contact me about the available material
07 / Where I speak from
I am a composer, a researcher and a teacher. I create concerts, performances and interactive installations. I have had to find words for these projects, bring people together around them and develop relationships with institutions, sponsors and patrons.
I draw on that experience in my coaching: my collaborations with Miguel Chevalier, projects supported by Hermès, Samsung, Camille Fournet and CHANEL, and the work of teaching, research and collective creation.
These experiences give us concrete situations to examine. How did a vision become understandable to someone else? What made a relationship possible? Which choices helped a project take form? What can we learn from the difficulties along the way?
Read my biography ↗Further working themes
I explore the relationship between individual projects and a wider trajectory: inheritances and affiliations, research, experimentation and connections between disciplines. With an artistic direction or an institution, I work on how a programme expresses a vision and how its different elements relate to one another.
I work on choosing concepts, constructing a presentation and communicating passion. We practise the one-minute encounter, the three-minute pitch, longer presentations and the interview. I also examine the relationship between the project and its website, social networks, newsletters or public presentations.
I work on artistic intentions, short and developed descriptions, images and video, the presentation of a team, a curriculum, a detailed budget and contacts. We discuss how to request an endorsement and how to approach artistic directors, institutions, sponsors and patrons.
I work on concentration, motivation and the ways we organise time and space. We examine fears connected with presenting a project, the relationship between professional and personal life, and the rhythms that allow creative work to continue.
Tell me about your practice, your festival, your association or your institution. What are you trying to create? Where does it become difficult? I suggest we begin there.
Write to me ↗