Volume / Installation

VOLUME

installations, objects, sculptures and others

Invoke the Fiery

Installation,

metal, gong, electronic system, 4mx4mx50cm,

2024

An arch inspired by the goddess Kali invites us to pass through it, leaving behind what no longer belongs to us.

To perform an intimate and liberating ritual: crossing the arch where the suspended gong resonates with each passage, like a ceremony marking this invocation to change.

Invoke the Fiery is a ritual to summon the winds of change. This 15-foot metal portal adorned with spiderweb patterns awaits is enhanced by a lotus lace patterns' circle. It guides participants on a transformative journey. At its heart, a suspended gong resonates with each passage under the arch. They can release their burdens by inscribing them on the stones that await in the eye-shaped bowls in front of the path. Wander along the flower path, they will traverse the arch, and as the gong's resonance surrounds them, revel in their newfound freedom. As night falls, the third eye transforms into a blazing hearth. They can let its flames turn your written burdens to ash. Illuminated by red light at night, it draws inspiration from Hindu mythology. Guided and inspired by the divine essence of Goddess Kali, this journey is theirs to embrace. Through these symbolic acts and immersive engagement, Invoke The Fiery becomes an invocation to change, urging passage and burden's liberation.

En mon sein, éveil bercé

Sculpture, metal, 2023

240cmx200cmx90cm

A receptacle awaits the viewer's arrival.

Between the nest, the turtle shell and the boat, it is formed by the sacred geometry of the tree of life, which forms its frame and even grows as a protective branch, rounding out above the cradle. The receptacle is sized like a single bed, meant for a child.

Like the various elements it conjures, this work is intended to convey notions of protection, evolution, connection and matrix.

The spectator can come and take shelter inside the turtle shell, the bearer of the world, just as the secrets of creation are sheltered there, according to legend.

The work invites the viewer to enter this cocoon, resting on the sheepskin that welcomes him inside the rough metal structure. The latter, often used in rites of passage, is a symbol of natural protection.

Visitors are invited to nestle into the work for refuge. Then, under the sign of protection, they can come to germinate and grow their connection to themselves and the world.

This shelter offers protection, a break from the turmoil, a return to the source.

Ceux qui fendent l’écume et apportent l’oracle

Sculpture, resin, copper, glass, 2022

18cmx20cmx10cm

In a modern, ecological ritual, the artist collects polished glass in the same way one collects seashells.

The glass we pick up on the beach is the result of man-made pollution.

Take this polished glass and turn it into knucklebones. Make it your own.

As if it were a natural element; make do with what you've got, with what you've got left, with what you've provoked.

Knucklebones were used in divinatory rituals. They were made from bones or stones. Shamans, soothsayers, fortune-tellers and witches used them to make omens.

In a world where human domination has led to destruction, we need to reappropriate new resources and create new rituals to restore our power.

Take these pieces of discarded bottle and turn them into an instrument of divination.

From generation to generation, witches and seers were women of power and knowledge, women who went against and against male domination. Women who used nature as an ally against this domination.

Today, the artist embraces this approach, from the sea and to the sea, in the hope of receiving an auspicious omen.

Hands outstretched, like an offering, awaiting a prophecy to come, like a promise.

Au Son des Voeux

Installation

copper, fabric, wool, buddhist wishing bells, 2022

230cmx60cm

A white flag standing in the middle of the playa. Copper pole, white fabrics tight to it, small traditional Koreans bells, red strings. In the idea of wishes Tibetan poles. The white flag will fly with the wind, as the bells will ting.

Six levels of fabrics, as the six senses that allow us to communicate and be part of the world, to be one with it, as said in Buddhism.

A white flag, asking for a break, an ecological break, as a spiritual one, as a wish to be send in the wind of the desert.

Red strings as the ones which link people in the asian mythology.

A unity, as a wish, a white flag as a totem for us to wish better.

https://burningman.org/event/2022-art-installations/?yyyy=&aq=Heloise

The Ivy and the Asphalt

Installation in-situ

vegetals, 2021

130x10cm

There is a method of repairing broken porcelain and ceramics with gold. The repaired object then becomes even more valuable than the original object.

Kintsugi is a philosophy that takes into account the past of the object, its history and therefore the possible accidents it may have experienced. The breakage of a ceramic object does not mean its end or its discarding, but a renewal, the beginning of another cycle and a continuity in its use. It is therefore not a question of hiding the repairs, but of bringing them to the fore.

It is very often used as a metaphor for resilience.

I have done kintsugi in the Kote Annex building in a broken part, a crack.

This kintsugi I have done it with plants, living ones, climbing ones.

Plants have this symbolism of always taking back their rights.

When man pours concrete, the plant always finds a crack to grow, to develop and to take back its right.

Like the plants, Kote and his community will find all the cracks to never die and take back their right, in this image of a plant kintsugi: a resistance, a resilience, a new cycle, not without breaks, but which draws its strength from it.

KOTE is a unique hybrid cultural and artistic space in Seoul.

Located in the heart of the historic Insadong district, KOTE is home to many artists, performers and entrepreneurs and is open to everyone.

Despite its vocation and its historical location, KOTE is threatened with brutal destruction in favor of the construction of a parking lot and part of the place has been ransacked. An artistic resistance has taken place against a man who does not hesitate to break the law.

What remains of Her

Installation

salt, squid ink, 2021

Variable dimensions

Sous les écumes d’Amphitrite

Installation

5 yellow buoys delimiting the 300m, chains, 2019

Œuvre vive / Œuvre morte

object

concrete, oak, 2019

165 x 65 x 65 cm

Cercle

Installation / Lifejackets oxygen bottles, 2019

Variable dimensions

Chlorure de sang

Sculpture / 60 kg of salt, 4 liters of blood, 2019

Variable dimensions

I'm used to

Wall piece / stamps, black paint, 2018

90 x 15 cm

PREVIOUS WORK

installations, photos, sounds and others

In the idea somewhere of a personal mythology I have been interested in the notions of the relation of the body to the other, to the family, to childhood, to the place, to the absence, to the lack.

In particular, I questioned the notion of my own image, recent or dating back to childhood, real or fantasized, in a search for emotion, meaning and otherness.

I question childhood, growth, initiation, the transition from child to woman and the consciousness of a changing body, family and parentage, separation and fusion.

Installation

Set of 8 sewn photographs, shelf 20x90 cm