Ma grotte – 2025
Caves, tents, huts, cabins, houses…
There are many words to describe what we commonly call home. The hearth, that intangible concept that cannot exist without a solid structure. This intimate space is steeped in so much symbolism that it takes us back to our childhood, to fairy tales and myths. Before you stands a charming little house; you are invited to step inside and experience the original matrix of humanity.
Cavemen—those primitive beings half-clad in animal skins, struggling to survive in a hostile environment. This stereotype is one of the most persistent in our modern societies. It is one of the most powerful archetypes influencing the human subconscious. And he has naturally been associated with the cave, since this “savage” could not build shelter with his own hands.
Our vision of the caveman has been shaped by that of ancient philosophers, by Christian scholars, and by the romantic imagination of artists. “Naive” prehistory is a blend of surrounding mythical and folkloric elements. And all of this, over time, merges into common usage to become part of popular knowledge. And the association of humans with caves has been so successful that this image has found its way into novels, films, TV series, advertising, and especially school textbooks.
The themes of symbolism and stereotyping are frequently explored in my artistic practice. Since the hearth and the home are central to most of my artistic projects, I wanted to challenge this misconception of prehistoric dwellings through a work that visitors could experience firsthand. I also sought to demonstrate how this belief has imbued the caves with a powerful symbolism that influences our perception of reality.
The symbolism of this small house evokes the image of an interior straight out of a pastoral tale. We open the door and discover an extraordinary environment. This journey through this strange house leads us to reconsider our image of prehistoric human dwellings. The idea is to challenge our perceptions and preconceptions through a complete immersion of our senses.
Is the collective imagery associated with home reality or a truncated generalization? Home is not merely four walls and a roof. It possesses multiple symbols and forms. And the juxtaposition of two extremes—the little house and the cave—confronts you with my reflection.
Symbiose – 2024
Metal. Height: 3,69m – Diameter: 1,42m.
Architecture is a rebellion against the fleeting nature of our existence. The concept of entropy, which underlies my work, constantly puts into perspective the effort humanity invests in continually rebuilding structures imbued with all our hopes. All the beauty in the process of disappearance comes from nature, which absorbs these elements.
Symbiose is an installation that creates an illusion. Before us stands a tower with recognizable lines—is it sinking or rising?
En faire une montagne – 2024
Wood / metal. 5m x 4m x 3m
At the base of this dollhouse mound, a glow is visible at night, like a fire breaking out.
This installation echoes current events in our world. Thousands of people are abandoning or losing their homes due to conflicts or climate disasters. The dollhouse is an image of an ideal inhabitant—even an archetype—that leaves an imprint on adults’ memories, an engram. Through their aesthetics, chosen for their symbolic significance in the collective memory, these houses evoke the sweet moments of our childhood. Their placement in this installation, however, symbolizes the loss of our sense of security and carefree innocence.
Abandoned home
It is a project about abandoned homes where inside walls turn to the outside. We directly face the last memories of the last residents, without even getting in. I make this home’s intimacy visible through the aesthetics of the wallpaper : it reveals a style, an era and a personal taste.
Fetishism – 2012/2013/2016/2017/2018/2021
Private collection of a shoe fetishist. Those shoes have a history that make them independent from the human. In the collective unconsicous, we don’t need a character to recognise the origin of the shoe. Shoes symbolize power. When the shoe is related to mythical or symbolic displacement, it has its own yet sometimes magical properties that allow its owner to free themselves from the laws of nature.
The legend of pripyat – 2015
The legend of pripyat: Communist city built by employees of a nuclear power plant. 27 April 1986, the city was evacuated due to the radiations of Tchernobyl nuclear power plant. It became a forbidden ghost city. The collective memory made of it an urban legend. It is this legend that shows through this installation.
The morbid attraction that the memory of this place causes to the rest of the world is expressed through this model. This ghost city captivates. With this, I show that the memory of a space has no temporal and spatial limit.
Windows n°1 – 2013
There is a house in the United States in which the crazy supersition of a woman has created surprising things : doors that lead to walls, staircases that lead to ceilings and Windows that lead to the ground. This is Sarah Winchester’s house. I created a series of Windows that open up the ground. Within the symbolism of the house, the bassement contains all of men’s fears. We know that the walls of the cellar are buried and have only one side with the rest of the ground behind them and the fear then amplifies. By displaying this window on the ground, I create an opening on what is usually inaccessible : one can see what cannot be seen, what is hidden.
Aquarium – 2013
Destroying memories is a pervasive theme that I express through the study of home memories. I immerse a house made of metal (one of the most solid éléments) into salt water. It will end up oxidized ; memories will disappear as the structure goes. The shape of the house is inspired by the définition of the 1966 Petit Larousse. I use the archetypes of the house : it was a logical to take an image that had been spread into collective memory.
Le bonheur du foyer – 2017
“The words give the illusion of the family happiness, destroyed by the uprising of the cover.”
The end of the tales – 2016
By toning down traditional tales, adults have ended up considering the original tales as horrifying and traumatising stories for children. The symbolic of the death of the villain is lost and some of the values the traditional tale are lost too. This wallpaper tells the “the end” tale told for centuries.
51 x 30,5 x 51 Dan Graham” – 2013
Model of a project on abandoned homes where inside walls turn to the outside. We directly face the last memories of the last residents, without even getting in. I make this home’s intimacy visible through the aesthetics of the wallpaper : it reveals a style, an era and a personal taste. Dan Graham has paid tribute to Gordon Matta-Clarck when he created « Museum of Matta-Clarck ». I use the exact dimensions of Dan Graham’s workpiece to pay them tribute.
