The act of possessing
This serie questions humanity's desire to possess nature and capture its beauty. A beauty frozen and lifeless, evoking the memory of what is been lost.
Birding without birds
is an artist magazine focusing on the relationship between birds and humans. The magazine offers a rich imagery for birdwatching through the extensive production of iconography.
It brings together a growing collection of images and invites us to look at birds in a world that is slowly losing its living beings. The project moves between disappearance and proliferation, where the image starts to replace real presence. Dimension 21 x 29,7 cm, digital print on paper.
Killing two birds with one shot
By recovering secondhand pillows, I found a material rich in meaning : recycled waste and an intimate symbolic object. Through the use of overcycled pillows, it questions our intimate consciousness linked to a daily object. What is the relationship between the pillow and its feathers? This gesture of opening an old pillow looks like turning the skin of a bird. The animal suddenly becomes a material.
Fragments from a speculative exobiology
Gathers a series of hybrid forms made from feathers, textiles. Suspended between the living and the non-living, these speculative remains evoke traces of unknown species and fragments of a fictional archaeology.
By imagining fossils from a possible future, the works explore life as a process of continuous transformation rather than a fixed category.
Silent spring
These landscapes portray a silent spring, where birds have vanished and only the memory of their songs remains. They are traces of a world emptied of birds. Inspired by Rachel Carson’s book Silent Spring (1962), the work reflects on the harmful impact of pesticides on the environment, especially on bird populations, and on the possibility of a future deprived of birdsong.
Natural history of silence
presents landscapes marked by disappearance. Species camouflage themselves within the environment. Blending into textures, colors, and forms until they become almost invisible.
The work explores this fragile space between presence and absence, where living beings persist only as traces embedded in the landscape. What remains are subtle signs: a silhouette, a movement or a memory. Rvealing a world in which visibility is never guaranteed and where disappearance becomes part of the landscape itself.
Street Fable, 2025
Using pigeon feathers gathered in the city, Fable de rue combines scanographies and text to bring forth a narrative of the urban landscape. This practice of gleaning reveals sociological differences and composes a fable of the territory, where the collected material becomes both trace and narration. Published in the Papier peint Mauvais drap magazine, issue 3. Dimensions 17 x 27 cm, digital print on paper.
Smell of intimacy
A precise gesture, starting with a gentle incision from the top of the abdomen and descending to the anus while ensuring to navigate around the wings and skull of the creature. With a certain firmness, the bird's body must be held—not with fingertips, no. It must be grasped firmly. A disconcerting sensation, the animal, adorned in its coat of feathers, is still warm. With the second hand, which until now remained free, need to find the delicate opening that separates the feathers from the flesh. Gradually, the icy scent of a piece of vacuum-sealed meat from the supermarket rises in your throat. The material is there, it's just a matter of doing it.
Birds from nowhere
It is these feathers, which have traversed time and space, that I reclaim from pillows. Remnants of what once was, they carry the memory of the bird they evoke. Their story comes from everywhere and nowhere at once. They are the silent witnesses of a reinvented existence, floating between memory and oblivion, rooted in an undefined origin and an endless journey at the edge of dreams and reality.
