My practice is situated at the junction of drawing, architecture and sculpture. The installations explore our relationship to the world by deconstructing the morphology of public and domestic spaces. Sculptures made of pine wood draw the outline of architectural elements, objects and furniture to create pure contour drawings in space.

The «contour line» as a basic element of representation in drawing is manipulated to reveal the invisible grids shaping the environment we inhabit. In the process of deconstruction, a two-dimensional drawing crosses a three-dimensional construction to extrapolate a plan that becomes an empty space. In the absence of surface and weight, the spaces of activities appear in their delicate nomenclature. The resulting lightness leads us to believe, from an existential point of view, in the concept of a detached and unattached world, like that of a scale model.

Derived from the ideology underlying the organisation of spaces, the installation work explores the properties of geometry, symmetry and order that are conveyed in architecture. Every element represented is modeled on the graphic standards of design and architecture. In the making of chairs, tables, desks, bookshelves, columns, staircases and fences, a model is adopted according to measurements, rules or units which correspond to the structure of the body. Other reference points are never arbitrary or entirely self-referential, but rather, recognizable touchstones of the contemporary world ranging, for example, from the generic working environments to the condominium layouts or the idealized suburbian garden. These interpretations invite the visitor to wander through a modular landscape which can become, to some extent, interchangeable (Espacement and MiroirMiroir).

The schematization symbolizes a void that creates a psychological distance that can be perceived through their dysfunctionality; drawing transforming their volumetry into an expression of loss.

In Espacement, the successive intervals of desks, chairs, tables and bookcases generate a typical office space that forms a rythmic abstraction created by the lightness of horizontal and vertical lines. In a context where the interior and the exterior are intertwined, architecture becomes this place situated concurrently inside and outside ourselves.

This interconnection of interior and exterior also emphasizes a tension between illusion and reality which is defined by the simultaneous perception of different levels of depth, a quality usually attributed to glass architecture. A dream of transparency, which was long transcended by modern architects, appears in my work as a grid sculpting the frontiers of an illusional ruin.

My practice is situated at the junction of drawing, architecture and sculpture. The installations explore our relationship to the world by deconstructing the morphology of public and domestic spaces. Sculptures made of pine wood draw the outline of architectural elements, objects and furniture to create pure contour drawings in space.

The «contour line» as a basic element of representation in drawing is manipulated to reveal the invisible grids shaping the environment we inhabit. In the process of deconstruction, a two-dimensional drawing crosses a three-dimensional construction to extrapolate a plan that becomes an empty space. In the absence of surface and weight, the spaces of activities appear in their delicate nomenclature. The resulting lightness leads us to believe, from an existential point of view, in the concept of a detached and unattached world, like that of a scale model.

Derived from the ideology underlying the organisation of spaces, the installation work explores the properties of geometry, symmetry and order that are conveyed in architecture. Every element represented is modeled on the graphic standards of design and architecture. In the making of chairs, tables, desks, bookshelves, columns, staircases and fences, a model is adopted according to measurements, rules or units which correspond to the structure of the body. Other reference points are never arbitrary or entirely self-referential, but rather, recognizable touchstones of the contemporary world ranging, for example, from the generic working environments to the condominium layouts or the idealized suburbian garden. These interpretations invite the visitor to wander through a modular landscape which can become, to some extent, interchangeable (Espacement and MiroirMiroir).

The schematization symbolizes a void that creates a psychological distance that can be perceived through their dysfunctionality; drawing transforming their volumetry into an expression of loss.

In Espacement, the successive intervals of desks, chairs, tables and bookcases generate a typical office space that forms a rythmic abstraction created by the lightness of horizontal and vertical lines. In a context where the interior and the exterior are intertwined, architecture becomes this place situated concurrently inside and outside ourselves.

This interconnection of interior and exterior also emphasizes a tension between illusion and reality which is defined by the simultaneous perception of different levels of depth, a quality usually attributed to glass architecture. A dream of transparency, which was long transcended by modern architects, appears in my work as a grid sculpting the frontiers of an illusional ruin.