In a space similar to the blank page, the white cube becomes the place where my drawings materialise in space. The cut-out shapes stand out against the whiteness of the space with their monochrome black. These phantasmagorical figures, often inspired by the vocabulary of death, are nonetheless anchored in reality by their recognisable silhouettes and 1:1 scale. The viewer is plunged into a dreamlike world where the familiar takes on a strange quality, as if walking through a life-size maquette. 

Stop motion allows me to bring movement and immobility to life in a different way in all my pieces (fragmentation, activation by the gaze, articulated bodies, tableaux vivants). Inspired by the work of Jeanne Vicerial, and to deepen this strangeness, I sometimes use performers hidden in paper costumes, which I position in the space. This introduces a new relationship between the human being and my creations: the confrontation is no longer just between the spectator and his or her gaze, but between the performers and the plastic production. In this way, phantasmagorical bodies lie in the space, creating confusion through their inertia - an effect described by Ernst Jentsch in his essay On the Psychology of the Uncanny, where we doubt ‘whether an apparently living being has a soul, or whether a non-living object might not by chance have one’.