Module-measure (metamorphoses) 
Pattern making fabric, electric cables, cables, copper wire, black paint, thermoformable sheath

Excerpt from exhibition text:

“…Thus, this ‘ground’¹ - whose whiteness, silence, and stillness of the pattern fabric contrast with the black lines running through it - appears animated by infinitesimal and infinite variations, in a metamorphic condition ; traversed by potential energies with a hybrid appearance - between electrical cables, sheaths that have retained the imprint of ropes, and snake moults slipping and probing in and out of the folds.
The installation appears as what could be a field of intensities, a muted activity, ‘constituted by an infinity of forces […] from which an actualization (in the form of an individuated body - that is to say, affected and affecting) may take shape.’²

¹ The German term Grund means at once: reason/foundation, ground, and soil.

² Sophie Gosselin, on myth and its pre-cosmic dimension, in Cannibal Metaphysics, Eduardo Viveiros de Castro.

False-reflection (illusion of a present time) 
inkjet print on 70g kozo paper beetween
two glass plaques

In this Faux-reflets series, fragments of my installations are photographed through the reflection of a glass. Printed and then placed between two glass plaques, they are displayed slightly out of alignment with the object, which is no longer present, or present elsewhere, in another configuration within the exhibition space, in a play of echoes between the current installation's reflection and its photographed counterpart.
This displacement introduces a kind of temporal thickness, an additional layer, and suggests the possibility of a slight disjunction, a gentle disorientation within the apparent fixity of things.

Module-measure (metamorphoses) 
Pattern making fabric, electric cables, cables, copper wire, black paint, thermoformable sheath

Excerpt from exhibition text:

“…Thus, this ‘ground’¹ - whose whiteness, silence, and stillness of the pattern fabric contrast with the black lines running through it - appears animated by infinitesimal and infinite variations, in a metamorphic condition ; traversed by potential energies with a hybrid appearance - between electrical cables, sheaths that have retained the imprint of ropes, and snake moults slipping and probing in and out of the folds.
The installation appears as what could be a field of intensities, a muted activity, ‘constituted by an infinity of forces […] from which an actualization (in the form of an individuated body - that is to say, affected and affecting) may take shape.’²

¹ The German term Grund means at once: reason/foundation, ground, and soil.

² Sophie Gosselin, on myth and its pre-cosmic dimension, in Cannibal Metaphysics, Eduardo Viveiros de Castro.

Like a world, identical to the world, this one hollow
brass axes, prints on latex, tinted steel frame
variable dimensions

Solve-Coagula (Solastalgia) 
Inkjet transfer, paper, binder and painting oil on brass Variable dimensions

In the Solve-Coagula series - (2021-...) - landscape photographs are transferred in successive phases to brass plates, combining intervation with oil paint. While the images in the first series represent skies whose nature, between cloud and explosion, remains ambiguous, the Solve-Coagula (Solastalgia) series focuses more specifically on images of fires and forest conflagrations. The title, borrowed from environmental philosopher Glenn Albrecht, describes unease, the erosion of a sense of belonging, and a form of desynchronization in the face of a disappearing nature.
If the reflective background seems to create the illusion or near-hallucination of crackling, the surface recalls photography, the representation of the real and the present, making several contiguous planes overlap and intersect (sometimes doubling them, inverting them, or flipping them), evoking a form of disorientation regarding the ongoing temporality..
 

Solve-Coagula (Solastalgia) 
Inkjet transfer, paper, binder and painting oil on brass Variable dimensions

In the Solve-Coagula series - (2021-...) - landscape photographs are transferred in successive phases to brass plates, combining intervation with oil paint. While the images in the first series represent skies whose nature, between cloud and explosion, remains ambiguous, the Solve-Coagula (Solastalgia) series focuses more specifically on images of fires and forest conflagrations. The title, borrowed from environmental philosopher Glenn Albrecht, describes unease, the erosion of a sense of belonging, and a form of desynchronization in the face of a disappearing nature.
If the reflective background seems to create the illusion or near-hallucination of crackling, the surface recalls photography, the representation of the real and the present, making several contiguous planes overlap and intersect (sometimes doubling them, inverting them, or flipping them), evoking a form of disorientation regarding the ongoing temporality..

Solve-Coagula (Solastalgia) 
Inkjet transfer, paper, binder and painting oil on brass Variable dimensions

In the Solve-Coagula series - (2021-...) - landscape photographs are transferred in successive phases to brass plates, combining intervation with oil paint. While the images in the first series represent skies whose nature, between cloud and explosion, remains ambiguous, the Solve-Coagula (Solastalgia) series focuses more specifically on images of fires and forest conflagrations. The title, borrowed from environmental philosopher Glenn Albrecht, describes unease, the erosion of a sense of belonging, and a form of desynchronization in the face of a disappearing nature.
If the reflective background seems to create the illusion or near-hallucination of crackling, the surface recalls photography, the representation of the real and the present, making several contiguous planes overlap and intersect (sometimes doubling them, inverting them, or flipping them), evoking a form of disorientation regarding the ongoing temporality..

Bone vertebra, wax vertebra, leather skin, wax needle, beetle, inkjet print (dog hair, from The Arnolfini Portrait), brass, wooden stand

Looking inside, what outside (2023-...) is an open series of installations taking as starting point an element of a Still Life painting, the vivid but then frozen detail of a genre scene, a fragment of symbolic space in a painting, replaying the devices (thresholds, change of scale, doublings, reflections...) within these representations of seeing and this symbolic embedding of vision and the world.

Inspired by animist masks that unfold multiple interiorities on a single plane, this particular sculpture deploys various surfaces/envelopes, each defining a distinct subjectivity.
 

Exhibition view, Not empty exactly, maybe just impossible - Solo show, L'ahah-moret, Paris, 2024

Exhibition view, Not empty exactly, maybe just impossible - Solo show, L'ahah-moret, Paris, 2024

Counter-light, Counter-lid

Installation for L'art dans les chapelles - 2023
Chapelle de la Trinité, Castennec

Hinges between things
Brass plaques, pattern fabric, wax blades, glass plaques
 

Hinges between things
Brass plaques, pattern fabric, wax blades, glass plaques

Installation for L'art dans les chapelles - 2023
Chapelle de la Trinité, Castennec

Counter-light, Counter-lid
Installation for L'art dans les chapelles - 2023
Chapelle de la Trinité, Castennec

Du muable* - 2023
texts, margins, plaster casts, boxes, inkjet prints
Variable display

*refers to a constantly changing state

Du muable (which refers to things whose state is constantly changing) held within it the idea of being the opposite of immutable. This installation is intended as a memory, or as an open archive. It consists of several éléments that to my mind are both on the periphery of the work - that do not really belong in an installation - and at the same time catalyze and nourish it (texts, images, casts, folded papers, publication margins, boxes). The bookcase, whether laid out on the floor or in the form of shelves, is a space that could be infinite, in which text and objects can unfold as well as withdrawin to themselves, retreat into their containers, appear in the transparency of a stratum of paper or remain on the
surface of a molded box, just as a stream of consciousness would be at a given moment.

Exhibition view: Collection Lambert, Avignon, 2024
 

Du muable* - 2023
texts, margins, plaster casts, boxes, inkjet prints
Variable display

*refers to a constantly changing state

Du muable (which refers to things whose state is constantly changing) held within it the idea of being the opposite of immutable. This installation is intended as a memory, or as an open archive. It consists of several éléments that to my mind are both on the periphery of the work - that do not really belong in an installation - and at the same time catalyze and nourish it (texts, images, casts, folded papers, publication margins, boxes). The bookcase, whether laid out on the floor or in the form of shelves, is a space that could be infinite, in which text and objects can unfold as well as withdrawin to themselves, retreat into their containers, appear in the transparency of a stratum of paper or remain on the
surface of a molded box, just as a stream of consciousness would be at a given moment.
 

Du muable* - 2023
texts, margins, plaster casts, boxes, inkjet prints
Variable display

*refers to a constantly changing state

Du muable (which refers to things whose state is constantly changing) held within it the idea of being the opposite of immutable. This installation is intended as a memory, or as an open archive. It consists of several éléments that to my mind are both on the periphery of the work - that do not really belong in an installation - and at the same time catalyze and nourish it (texts, images, casts, folded papers, publication margins, boxes). The bookcase, whether laid out on the floor or in the form of shelves, is a space that could be infinite, in which text and objects can unfold as well as withdrawin to themselves, retreat into their containers, appear in the transparency of a stratum of paper or remain on the
surface of a molded box, just as a stream of consciousness would be at a given moment.

Exhibition view: Château de Servières, Marseille, 2024