La LUNE et le SOLEIL fuses the artist’s intimate visual narratives, drawn from his travels in Colombia and daily life in Marseilles, with a spellbinding, storytelling voiceover to offer a profound reflection on human relationships, modern myths and contemporary realities.

Like a hotel room, the immersion brings the spectator to the crossroads of dream and reality, contrasting the romantic ideal with concrete experience, led sometimes by images, sometimes by words, between everyday life and fantasy.

The idea of constant flux, like a large playground conducive to chance, attempts to immerse the viewer in movement, encounters and travel within the same hotel room.

The video projected is an artificial scene created in 3D, based on “procedural” models that are no longer even scans taken from real nature, but entirely generated by algorithms.

The virtual camera is placed at the center of the scene and moves in a loop. Little by little, this artificial nature undergoes changes – in luminosity, gravity, complexity – then returns to its original state. The projector turns on its motor at the same pace as these minimalist changes to the projected scene. The resulting moving projection will “scan” the four walls of the real room, revealing a ghostly second space superimposed on reality.

The artificial landscape is inspired by the richness, beauty and sometimes vulgar luxury of botanical and tourist gardens on the Côte d’Azur.

Two short films, shot respectively in Japan and China, offer two visions of wandering and the attempt to escape the rules of our societies, through absurdity, play and the present moment.

The first, semi-autobiographical, tells the story of a man in search of a town that now exists only in his memories, and of his encounter with several characters, each with his own vision of how to lead his life; a benevolent, carefree man, a hikikomori who escapes reality by immersing himself in a virtual world, a former fisherman turned musician… and ends on a gentler note, of an escape to the south. In the second, we find this mute character perched on a dilapidated roof in southern China, playing chess against a fan in an eternal loop. A sort of homage to Vexation Island, it translates into the absurd the impasse of dictating one’s own rules.

who hurt bro is a project integrating a short fiction film in 3D animation and live action with an immersive scenography.

“Who hurt bro”, a masculinized form of ‘who hurt you’, is an expression that appeared on Tiktok, in comments and memes. It’s tinged with sarcasm but also compassion. It’s used when a subject tries to surpass the limits of his or her own body and humanity.

The “who hurt bro” line recalls this stubborn desire to appear very strong, as a reaction to past traumas, conditioned by the competitive upbringing given to boys.

Mirages is a mixed-media installation that questions the horizon in the seascape.

Mirages #1 is built from webcam feeds from hotels around the world, which are captured and re-combined. The lands of some are mixed with the skies of others.
I like to link the classics of the History of Photography with the rudimentary editing of these low-resolution videos, which have such a latency that they seem to revert to the state of photographs.

Born and living in Marseillle, the artist has been obsessively filming the sea for several years. For him, looking at the horizon is looking at the point where we stop seeing.
A dividing line between sky and sea, the horizon is also a link between the visible and the invisible.
The horizon is a vertigo, a disappearance.

Stand de tir (2021) captures a series of phenomena. Glances, gestures, breathing, tension and relaxation are channeled to reach the heart of the target. It’s a question of holding on with rigor while achieving a certain state of letting go. The sound work in the interviews lets us hear what the image perceives, making the shooting range a place where antagonisms no longer prevail, where the search for balance, self-control and a taste for play confront memories of war, violence and security problems.

Like a search in a forbidden attic, “Black-out” explores the artist’s emergence from traumatic amnesia.

Memory loss, generated by intense stress, is a neuro-psychological mechanism characterized by a disconnection between the amygdala and the hippocampus during a traumatic event. Emotional information is then dissociated from the memory circuit, leading to a freezing of memories.

By exploring her unconscious under UV light, the artist attempts to reach these inaccessible events. Composed of several chapters, the project begins with archival images from his early photographic trials and tribulations between the ages of five and ten.

Created during a residency at La Factorie Maison de poésie in March 2023.

Je suis amoureuse de tout le monde is a video teeming with hands and mouths: hands that are crunched, mouths that are placed on a plate, hands that are inflated… The artist wanted to convey the idea of endless desire, even without an object, something like an inexhaustible thirst for life that can also be understood as a kind of universal generosity.
Divided into three chapters – presented in stop-motion – the video explores different performative tableaux to stage an overflowing, absurd love.

The aim of this evolving installation is to compare the different statuses, modes of remuneration and relational modalities that increase systemic discrimination and violence in Marseille’s cultural sector.

The filmic device consists in asking art workers to wear a (non-gendered) cheerleader outfit while conducting documentary interviews while playing sports. Sports practices are then used as a metaphor, evoking exhaustion, whether due to working conditions, to the precariousness of the status where you’re always chasing money, or because of the competition.

This documentary addresses the following questions: How do economic insecurity or situations of vulnerability lead minority groups to leave the cultural sector? How do people cope, find ways out and continue to work in the sector?

The title refers to Jamie Babbit’s lesbian comedy But I’m a Cheerleader
by Jamie Babbit, released in 1999.