“Petit Souvenir” – 2024

Snow globes are among the objects that evoke a deep sense of nostalgia in Western societies. Often brought back from our travels, they carry the weight of our memories. These three small snow globes embody the paradox of ruins. Frozen in time, the existence of these houses is reduced to their current state. This object confronts us with humanity’s universal fascination with ruins.

                    

 

Escalier : “Sans Titre” – 2021

Every object around us has been shaped according to our desires, dreams, and needs. As a result, they are imbued with symbolism that allows us to understand our environment.
The spiral staircase carries very strong universal symbolism. This physical concept of ascending or descending is often associated with heaven and hell through the cellar and the attic, for it serves as the link between above and below. It is the axis of the world for all who study symbols.
But if the staircase is crooked and it is impossible to go up, what do we feel?
By imbuing the staircase with a disorienting sense, a rupture is created with collective memory. We will not know where the ascent begins and where the descent ends.

          

 

Fléaux – 2020 (58 cm x 27 cm x 24 cm)

Plaster, wood, paper, fabric

4 containers, 4 pieces, 4 scythes, and total destruction.

I use the form of the model to illustrate the loss of memory embodied by our homes. The model’s primary function is subverted, transforming it into a mirage-like box of miniatures. They take the form of a monument to a social tragedy.

Our homes are fragments of our past. They hold our memories. When they are devastated by natural disasters, we are devastated. Yet, despite this, we are drawn to these scenes of destruction.

Tornadoes, torrents of water, fires, and vegetation possess a poetry in their brutality that fascinates me. The destruction is at once magnificent. The world is gradually being covered in buildings, and despite the increasing frequency of natural disasters that destroy these homes, we continue to build. This logic perfectly captures the concept of entropy.

                           

 

Autodafé – 2018 (55 x 40 cm)

It is a few meters-high installation. It is made of doll houses, its base is burnt, darkened by the fire.
This project echoes migrants’ reality who have had to flee their homes. Their home is the first material thing they have to abandon or loose. The doll house is a projection of their real homes. It is the image of an ideal imposed on children, almost an archetype that marks adults’ memory: an “engramme”. We associate this toy with childhood happiness but it is also the symbol of safety, privacy and the recognition of a person as a citizen. This is where the rejection of homeless people and migrants in our societies comes from.

This projection is an illusion of home. It is destroyed by fire: the public burning of doll houses. Visitors will see the remains of the public sentence of an object that encompasses a history of archetypes. Public burnings have a strong meaning in our history: forbidden books were burnt because they were symbols of a society that was rejected at the time. Dolls houses represent what is currently happening in Europe. The destruction by fire illustrates the dramatic situation some people are experiencing: children migrants have to give up their childhood and adults have to give up their homes.