flat spot — after translation

video installation, 2026 [in progress].

Blurred sepia close-up of a face and shoulder, a pink mantis drawn over the hair, with overlapping strips of eyes at left.
Woman wrapped in plastic and raw meat, seated in a poultry box against a stained wall, chicken pieces scattered nearby.

ALDI’S CHICKENS IN LOVE [behind the scenes]

Video 2mn40-loop, 2012.

ALDI’S CHICKENS IN LOVE [behind the scenes]

Video 2mn40-loop, 2012.

Bare-backed figure with dark hair presses both palms against a scarred white wall, wrapped in plastic and raw chicken.

aldi’s chickens in love

video installation, 2mn40-loop, 2012.

Three-panel sequence of a woman in red boots rising from a wooden crate, a chicken thigh flying through the air above her.
Black-and-white image of a woman seated at the open edge of a large wooden crate, head bowed, in a stained, decaying room.

love is in the air.

tides or waves…
Sisyphus and a veil cast over a reality imprinted with uncertainty.

ex nihilo

video installation, 27mn42-loop [7 videos], 2015.

Close-up portrait of a short-haired woman in a fur-collared coat, looking upward with mouth slightly open.
Sepia collage of a woman's eye repeated in overlapping panels, with a large blurred close-up of an eye and face at center.

flat spot

video installation, 12mn-loop [5 videos], 2015.

an imprint born from an encounter at the deepest point of lack — at once “closest to and furthest from oneself”. 

Flat Spot is a video installation that explores the absence of a presence, as understood by Derrida, and presents itself as a place of convergence between memories and hope, to abstract oneself from reality and its contingencies, carried along by traces 

— as in a dream where alterity, highly idealised, arises in reference to the self, in an impulse whose dramaturgical devices reveal the visceral need to be considered in one’s singularity even as the social bond grows ever more precarious.

Dark video still of a figure crouching inside a wooden crate, working a mechanical tool on the wall, blood on the floor.

in nuts we trust

video installation, 54mn-loop, 2011.

alya noah frees herself from the grip of the alienating everyday life and projects herself in an artificial space, ephemeral indeed, but not precarious any more.

Contact-sheet strip of nine small photos showing a woman in white posing among cones, a dog, and scattered balloons.

Lilly rose is a lilliput

video installation, 11mn-loop [9 videos], 2011.

lilly rose, dressed in pale clothing, her feet bandaged, tirelessly plays out a whimsical scene, “la fleur en col”.  

[…] Extracted from tangible reality, absolved of responsibility for her actions, without any real self-consciousness, she attracts notice, asserts herself apart from any form of seduction and lays bare her laughable humanity while vanishing into the role of the burlesque character so often reserved for men.

[…] Confined within her microcosm, cloistered behind doors that delimit a closed intrapsychic universe, the almost obsessive, repetitive gesture she employs frees her from the weight of solitude and the torments of captivity without thereby dispelling her innocence.

Split-face composite portrait blending two women's faces, one with bold dark eye makeup, both in metallic striped tops.

as clean as a pussy

video installation, 2mn10-loop, 2011.

roughly handled by schizophrenic discourses on beauty and conformity until the outbreak of a paroxysmal state: the disillusionment.

will you marry me?

video installation, 70mn-loop [7 videos], 2010.

Close-up of a belly submerged in bathwater, with pressed red flowers and stems floating across the surface.

f.m.t. — FUCK ME TENDER

video installation, 20mn-loop [2 videos], 2015.

Fragmented horizontal strips of overlapping eyes in sepia and red tones, forming a layered composite portrait.

off-kilter

figures

THE body AS artefact

not victims

not heroines…

the na-

na’s.