My work responds to any given space it has the opportunity to inhabit. It is a mobile exhibition, created from my sculpture kit, curated by my eyes.

I assemble materials and forms of different aspect, such as vertical blinds, synthetic furs or used chairs, reminiscent of offices, lobbies, waiting rooms. Although industrial, these everyday objects, from which emanate a lived experience, detach themselves from their inherent context. Alongside them, I place animal products that I use to disturb the spaces such as real furs, egg yolks or pork trotters. These objects and materials are signifiers of my work, to create ephemeral scenographies where I associate the degradable with the geometrically shaped and mass-produced objects.

Sculpture, installation, collage, placing, hanging. These are words that qualify my practice, but ultimately, it is about sculpting and responding to a space. I characterise space by placing objects in it, I disrupt space by introducing the non-controllable object in it. There is an element of doubt, of unease that transpires through my work. This exploration can be in the medium of paper - 2D - or in object - 3D - based display.

My theoretical research on human behaviour towards art, supplements my artistic work, and is constantly enriched by conversations. I listen, I observe, I analyse.  

Shop fronts. Digital collage d'apres Agnes Varda. May 20201

Since January, my curiosity has driven me to shop displays in rural towns. With cultural spaces and venues being closed, the shop window has become the element that one can look at and for a split second, be carried away in its world.
It is, in and of itself, a curious piece of art, if we consider the display of objects and materials inside it.

During my quarantine time in Alsace, I have used the vacant shop as my exhibition space.
As I work with large scale installation composed of found objects, industrial materials and animal produce, I have been drawn to these rural shop windows. Who is displaying in them in this way and why? They are to me, a delightfully strange juxtaposition.

Here are two colleges that reflect this process, sourced from Agnes Varda's 1976 film, Daguerreotypes.

Shop display. Digital collage d'apres Agnes Varda. May 2021
Shop display. Digital collage d'apres Agnes Varda. May 2021
Vacated spaces


I completed my Fine Art degree in my parents basement in France, the abandoned wine cellar.

As the crisis spread, many shops in rural areas in Alsace closed down – along with art spaces. I decided that I would occupy these vacated spaces with my work. For 4 months, I inhabited different places in different ways, by performing, installing, and displaying in them. The still and moving images you will discover while scrolling down are documentations of these projects. 


The first one you will encounter is an installation I did in an abandoned paper factory in France. It was interesting for me to consider my fabricated set in relation to this large factory building. Indeed, the factory had once been the cathedral of industrial times, yet had become obsolete and non utilitarian in our hyper digitalised neoliberal world.

Thank you to Noé Beck, Mina Petitdemange, Joshua Neves, Justine Rnr, Gaspard Welerse, and the McIntyre's.

47 Route de Colmar

A vacated place I installed in was an old care license shop. During four days, I performed an installation display of my chairs, my furs and some collages. It was a way to bring my work out of the basement for the passersby to see it, as this shop window enabled a direct outreach. One day, preschool children pointed their fingers towards the cut chairs with curious expressions on their faces. 

Rue des Bains

Another empty space I displayed my work in was someone's house. 
For two days, I installed in the emptied guest room of a neighbour and adapted my objects accordingly to this space. It was different form any environment I had installed in, as it was domestic and the walls were imprinted with intimate history of the people who had lived there previously.
This sparked interest in the community of the small town this was happening in, and the room became a place of dialogue with the local's.  What was the purpose, the meaning, the significance of this type of work? It was a completely different approach to art from the one they were used to see hanging on a wall...

Merci Lidl. Digital Collage, Alsace, February 2021.
Leash, Control, Mouvement. Installation - Edinburgh College of Art. November 2020. Photography: Kathrine Cutler-McKenzie and Benjamin Caro.

Leash, Control, Mouvement. Installation - Edinburgh College of Art. November 2020. Waiting room chairs, orange bag, metal bars, pen, vertical blinds, greyhound, plastic fabric and Tula - the greyhound.

Photography: Kathrine Cutler-McKenzie and Benjamin Caro.

To introduce chaos into the sleek and still space, I had a greyhound come into an installation of mine. It was interesting to consider how the animal interacted with the space, first intrigued, then bored until it sat down in the waiting room.
There was no dead animal produce this time, as the focus was on the movement of the live animal.  

Le Manteau

The inspiration for my work is also my Franco-American identity. I explore the culture of both countries in an aesthetic way. On the one hand, the French luxury and its traditions in which I grew up. On the other, the popular culture of the United States, with its malls, shops and dining halls - the place where both my parents come from.

In a way, I am a collage of these two geographical and cultural spaces. 

Le Manteau. Collage, February 2021. France
Waiting for Beckett. Still of a performance. Edinburgh December 2020
Waiting for Beckett. Still of a performance. Edinburgh December 2020
Waiting for Beckett. Still of a performance. Edinburgh December 2020
About the cut chair

What I was struggling to do with my work, was to make it more refined and edited – rather than having a large-scale installation. How would I synthesise it’s essence? My working with collage and my interest in corporate aesthetics led me to focus on the display of the cut chairs only.

What would happen if I edited my work down to the pure object, and worked on It’s display and direction, rather than embellishing it with more objects. Here is a picture of an installation that is staged in the way it considers each chair as the character isolated from the others.

This stared the new chapter in my work, and has projected me forward into my current practice. The cut chair in the worker, the business man, the conforming human – yet it is cut, it is becoming free – it is opening up its wings.


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