The visual devices that each performance deploys are places of the dismantling of tired paradigms, through working from historical layouts which were seminal : the scandal de Manet’s Olympia, the unmade bed in Fragonard’s « The Lock », the sexually-charged atmosphere in Nijinski’s “l’Après Midi d’un Faune”, the sulfurous slogan «To My Sole Desire » from the sixth tapestry The Lady and the Unicorn, the  ithyphallic figure Lascaux cave, the Big Prostitute on the water in the apocalyptic visions of John, etc.

Because the bodies represented are taken in a complex network of senses and meanings and that they sometimes become emblematic within an instant T of the history of the world; because these known respresentations nevertheless continue to vividly inform our very modes of perception, the method – inventing itself progressively throughout the work – consisting in entering into these old bodies in order to construct the image that they had formed backwards, injecting it with and through friction, history of art discourses, a critical history of representations and personal histories to attempt to change the nature of the view of them and consequently of us.

From experience, we can observe that the images last a long time and thank goodness. But one part of what we think they represent can collapse. Thank goodness again. Because it’s about creating collapse. At any rate, the machines for reflecting upon the images, in which languages (the accounts) and bodies (the actions) interpenetrate to dig up dissident paths.