The visual devices deployed in each piece dismantle tired paradigms, drawing on landmark historical arrangements: the scandal of Manet'sOlympia, the unmade bed in Fragonard's The Lock, the sexual charge of Nijinsky's Afternoon of a Faun, the scandalous motto To my only desire in the sixth tapestry of La Dame à la licorne, the ithyphallic figure in the Lascaux cave, the Great Prostitute on the waters in John's apocalyptic visions, 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.