There was a time where a love letter could only reach its recipient after a travel of several days or an endless journey. Alfred de Musset never received the last letters sent by George Sand. Nowadays, a missed correspondence almost doesn’t exist anymore. The ways in which to communicate long distance are forever multiplying, and our behaviors are changing along with them.

Beyond the emphasis of their peculiar time, the epistolary relation between George Sand and Alfred de Musset is shaped by a rare consistency and flame. It is first of all due to the strength of their feelings, the virtuosity of their writing, but also, to the conditions of such an exchange. The love letter carried vivid passion that was measurable at the length of patience or impatience of its sender. The words were chosen to fulfil the absence and the awaiting. When the recipient activates the content, the ink laid on the paper reaches a strong level of emotion. The letter, like an art piece, becomes more than a medium when it’s inscribed in a relationship with the recipient. Even if its materiality relies on the degree of materialisation of the relationship it creates, the letter, like an art piece, cannot substitute for a direct and sensual life experience.

(1)
Hypersomnia, 2013
(In collaboration with Simon Asencio and Claire Andrzejczak.)
Silk. Variable dimensions.
The density of the architectural details coexists with the fragility of a silk filter. The elements, the already-there, take part in the dramaturgy of this volume- image as many presences of the place… An object in the scale of a space, like a vestige of Time.

(2)
Untitled, 2013
2 pieces of copper folded (347 x 5 x 5 cm each). Variable dimensions.
A line is underlying a luminous instant, underlying an ascent, underlying an architectural detail. Playing with the reflection of the different light sources, the handrail are inscribed in the space, at the limit of the perceptible.

(3)
I can’t look at the sea for long or
I lose interest in what’s happening on land, 2013
Photography, print on dibond. 42 x 23 cm.

(4)
Une image qui n’existe pas encore, 2013
An Image That Doesn’t Exist Yet
Aquarium (60 x 30 x 30 cm), gelatin filters, PAR lights, water and solar mirror. Variable dimensions.
The orientation of the PAR light projectors on the differents milieus (gelatins, glass, water) decomposes the color in an ensemble of nuances that merge with the the differnts textures of the space. Some elements of the dispositive of a photographic studio shooting, usually placed behind the eye of the camera, propose the possibility of an image.

(5)
Untitled, 2011
Installation with mylar and transfering iridescent paper folded. Variable dimensions.
A huge dark space is allowed to a tiny simple fold. Multiple points of view are proposed to apprehend the same piece. From far, the number of iridescent faces remains unperceivable and mysterious. From near, only one appears, it is directed towards the entry of space. It is a signal, a call, an accent. The gap is between the enlarged scale of the space and the smallness of the volume folded in not-precious material.