In 1997, while living in Basel and then Barcelona, I started a spontaneous and cumulative project entitled Network. This opened the door to over a dozen more collaborations as part of the Bureau des objets lyriques migrateurs (BOLM), which I founded in 1999.

BOLM is an ironically bureaucratic structure providing an apparently official context to host my various art projects. For each project, a specific system is conceived for realizing, documenting, and publishing it, as an intrinsic part of the art event itself. In BOLM's socio-poetic experiments, the participation of the public is essential, whether through participants' comments, production of images, contribution of personal belongings, or willingness to be subjects. BOLM's "product" is more about the situations created than about the objects per se. Neither jewelry, nor accessories, neither toys, nor tools, "Migrating Lyrical Objects" are meant to be shared and work as wearable catalysts for communication. Their "wearability" empowers them to intrude and contaminate the social environment in a poetic way. Seductive and ridiculous, they call for comments and arouse amused observations about our desires, our identity, and our alienation as urban beings.

BOLM projects question the accessibility and the consumption of cultural objects, re-evaluating our means and modes of exchange. Through the intimate and interactive components of its projects, BOLM intends to give the public a level of responsibility in order to inject art into life and life into art.