Les dispositifs de vision que chaque pièce déploie sont des lieux de démantèlement de paradigmes fatigués, en travaillant à partir d’agencements historiques qui ont fait date : le scandale de l’Olympia de Manet, le lit défait du Verrou de Fragonard, la charge sexuelle de L’Après-midi d’un faune de Nijinski, la sulfureuse devise « A MON SEUL DÉSIR » de la sixième tapisserie La Dame à la licorne, la figure ithyphallique de la grotte de Lascaux, la Grande Prostituée sur les eaux dans les visions apocalyptiques de Jean, etc.
Since the bodies depicted are caught up in a complex network of meanings, and sometimes become emblematic of a particular moment in the history of the world ; since these known representations nonetheless continue to strongly inform our modes of perception, the method - which is invented as the work progresses - consists of entering into these ancient bodies to construct in reverse the image they once formed, and injecting (through friction) art-historical discourse, critical history of representations and personal histories in an attempt to change the nature of the way we look at them, and therefore at ourselves.
Experience shows that images hold up for a long time, and so much the better. But part of what we think they represent may collapse. So much the better. Because it's all about creating collapses. In any case, image-reflection machines, in which languages (narratives) and bodies (actions) interpenetrate to carve out dissident paths.