You’ve mentioned orchestrating a “path for the eye” how have you directed viewers to navigate space in previous exhibitions or with works you’ve showcased in the past?

”I rarely place work at the center. Instead, I’m drawn to thresholds, to what lies in between. I like slipping artworks into crevices, under walls, behind structures, or at ground level. This redirection slows down the gaze and disrupts expectations. In Light Bulbs Conversation (2019) at Collective Aubervilliers, I hid the work within the existing architecture by reactivating old chandeliers stored in the attic, they were visible only to those who observed closely. I want the eye to wander, to search, to doubt what it sees. My work centers on the viewer’s experience and the act of seeing, not only with the eyes but also with the mind.

Seeing is not always about visibility. I try to create situations that softly shift perception, inviting a more intimate and sometimes mystical form of revelation. In Spare Room, shown at Le Plateau, Frac Île-de-France, as part of the exhibition L’Irrésolue curated by Anne-Lou Vicente, I created two architectural cuts in the gallery walls that opened onto hidden, normally inaccessible spaces. Through one narrow opening, the viewer encountered a glowing red sphere trapped between walls, bathing the area in deep red light. Further into the space, a twin opening revealed a faint nightlight glowing near the floor.

These two elements acted like parentheses or a secret passage, suggesting a space beyond the exhibition itself. I deliberately limited visibility to create intimacy with the work, but also a sense of frustration or tension. I like the idea that one cannot see everything, that partial vision activates desire. In this way, light becomes both a guide and a boundary.”