"Le Rêve de D'Alembert", 2024Paintedpaper made from a l'Eden tapestry board from the Desfossé manufacture (1861), paintings from Dafen village, Shenzhen after Bronzino and Holbein, wood and plexi frame, glitter tree.
Exhibition LE RÊVE DE D'ALEMBERT, Christie's Bordeaux, 2024
The exhibition Le Rêve de D'Alembert focuses on the concept of Nature, a metaphysical device invented by the West and Europeans to highlight human distancing from the animal and plant world. Spotting these artifices in our Renaissance masterpieces (copied here by Shenzhen artists) and our vision of paradise reveals our "structural unconscious". Artificial rather than fusional, this vision of a decorative nature does not respond to D'Alembert's Rêve (Diderot, 1769), which evoked the possibility of cross-breeding between all beings.
Vaginal Flowers, 2024 Wallpaper made from a collage of photographs by Robert Mapplethorpe, shelves (Haim Steinbach), vases, flowers
Exhibition BREAKING THIS SILENCE, galerie BAG (Bakery Art Gallery), Bordeaux, 2024
Probing the archaic representations of sexuality conveyed by art and creation, the Vaginal Flowers wall is based on stories from medicine and art history. Since Antiquity, many philosophers and physicians (Aristotle, Gallien, Hippocrates, Freud...) have constructed a mythology around feminine "fragility" that has, for many centuries, fuelled scientific discourse around the "weaker sex". They all agree that the female sex is congenitally incomplete and temperamentally damp. In the history of art, the vagina is transposed to other figures that can receive or produce a liquid substance: plant juices, fruit and flower spurts, but also containers such as vases, shells or shells metonymize the vulva and its intemperance.
Le Partage de l'Afrique, 2024
Wallpaper based on the illustration from the 1913 Petit Journal illustré, La délimitation des nouvelles frontières franco-allemandes au Congo, a collage based on the 1885 cartoon from L'Illustration entitled La conférence de Berlin, à chacun sa part, si l'on est bien sage, masks from the Musée d'Ethnographie de Bordeaux
TELEMA exhibition at the Bakery Art Gallery, Bordeaux, 2024
Between 1880 and 1914, at Bismarck's instigation, representatives of 14 governments met in Berlin for a conference at which the colonial powers agreed to "divide up Africa". Known as the Berlin Conference, this assembly of Austria-Hungary, Belgium, Denmark, the Ottoman Empire, France, Germany, Great Britain, Italy, the Netherlands, Portugal, Russia, Spain, Sweden, Norway and the United States arbitrarily divided up the African continent, leaving the peoples and kings of the country out of all discussions. The object of covetousness and Western imperialism, Africa, despite decades of independence, still bears its lasting imprint, starting with the borders inherited from these appropriations.
"Histoire de l'œil", 2025Le Partage de l'Afrique, 2024
Wallpaper based on a painting by Fragonard "L'escarpolette", blown-glass vase, neon light based on a phrase from Flaubert's "Mme Bovary"
Exhibition BREAKING THIS SILENCE, Institut Français, Berlin, 2025 Curator: Nadia Russell Kissoon
The wall installation "Histoire de l'œil" (whose title is inspired by Georges Bataille's novel of the same name, published clandestinely in 1928) explores two distinct scopic regimes: on the one hand, the voyeuristic device embodied in Fragonard's "L'Escarpolette" (1769), and on the other, the language of domination present in Flaubert's "Madame Bovary" (1857). These two references, although from different media - painting and literature - converge on the same logic: the possession and domination of the female body through the gaze.
In Fragonard's painting, the viewer is placed in the position of voyeur, espousing the point of view of the young man hidden in the bushes, who contemplates with delight the legs and undergarments of the young woman on the swing. This game of seduction and exhibition reinforces the idea of a woman as object, offered up to the male gaze.
Conversely, in Flaubert, the gaze becomes an instrument of power: that of the narrator, but also of the male characters, who shape and control Emma Bovary's image. Her desire and her body are constantly scrutinized, judged, and ultimately reduced to an object of narrative consumption.
The "Histoire de l'œil" installation thus puts these two modalities of the gaze - seductive voyeurism and oppressive surveillance - in tension, in order to question the mechanisms of gendered domination that run through the history of art and literature.
The "walls" are spaces that combine wallpaper created for the occasion with objects hung on top. Based on the appropriation of works from art history or archives, they are both the memorization of concepts from our history and their distancing.