about the exhibition:

Prospective Paresseuse is oriented towards a field of investigation, mixing science fiction and mysticism.

This dark and forward-looking research universe is guided by questions about our understanding of science in the near future; At a time when the operation of our technologies and the devices around us is managed by complex software, science is set to become mysterious, almost esoteric.

When will the shift from science to magic take place?

What form will the sacred take in the near future?

about the exhibition:

This series of sculptures is inspired by the symbols of the Googie, an architectural style that appeared in California in the early 1950s.

This style is characterized by multiple physical elements and bright colors. At that time, he represented a positive vision of the future, turned towards space and technology.

The series of pieces reinterprets the codes of this unusual architecture while introducing natural materials and an artisanal aspect.

It aims to reactivate this resolutely optimistic future while adapting it to our contemporary considerations.

about the exhibition:

This first part of a larger-scale installation presents a figure kneeling in an offering position, featuring a glass alienoid head.

This scene suggests a ritual in progress, without fixing its outlines or the stakes.

It will unfold with the appearance of various monuments evoking a sanctuary with

multiple references, both Gallo-Roman and prospective.

about the installation:

These wooden altarpieces stage body fragments with disturbing sensuality.

Each image represents a divine creature of undefined gender immersed in a contemporary situation.

The altarpieces, worn and dirty, seem to have been taken from a city made of flesh. The whole evokes a science fiction universe that is both mystical and carnal.

about the installation:

Caelestis Office functions as an anteroom stuck between two eras.

The pieces that compose it evoke ancient Mediterranean goddesses,

transformed into public sculptures and eroded by time.

In the space there is an atmosphere reminiscent of the waiting rooms of the 80s, nostalgic and obsolete, in full decline.

about the installation:

This installation refers to Sedona, the American capital of the New Age.

These artefacts come from multiple sources of New Age inspiration, from the Venus of Sireuil to the alien of area 51. 22 long rifle bullets are embedded in each of the pieces in specific areas, symbolizing as much the chakra points as the vital impact points of American shooting targets.

about the exhibition:

Delight on Enceladus is an installation on the notion of visual noise: a retinal disturbance, which can be found as much in the splendor of the Sicilian baroque as in the swarming of Danmaku, a style of Japanese video games. Enceladus plays there the role of tutelary figure by his double identity; that of the mythological giant trapped under Etna, and that of the icy satellite of Jupiter, potentially the bearer of life.

about the installation:

Like the tiered cocktails from which they are inspired, these two sculptures are thought out in layers, each necessary to maintain the next.

This is less about a crushing of materials, than a formal composition reminiscent of the Googie style, flagship of the American 1950s.

about the installation:

In Gustave Flaubert's Salammbô, the gardens of Hamilcar, sumptuous and exotic, will be plundered and destroyed by an army of mercenaries. The description of these gardens tells as much about their wealth as about the devastation to come.

They appear ambivalent, and ruin mingles with greatness.

about the installation:

This installation is made up of various interrelated elements to offer

a phantasmagorical journey between science fiction and New Age spirit, tinged with unknown infectious fears common to all great expeditions.

about the installation:

This installation pays homage to the first lasers used in rave parties at the end of the 1980s. The laser was then imagined as a forward-looking technology and permanently subscribed to the codes of science fiction. The prospective universe he anticipated has since become obsolete imagery.