Confronted with an increasingly omnipresent architecture, my practice explores its erasure. During my travels, I photograph sections of entrances to public and private buildings. Collages of these images give rise to new kaleidoscopic spaces or deceptive symmetries, like mirrors that reflect without truly reflecting. By blurring the cues to their origins, I draw directly onto these fragments, unifying them through a shared geometric language. This graphic overlay, in trompe-l’œil fashion, evokes the complexity of our architectural and social environment.
Using raw earth, I capture the imprints of corners, doorframes, or window frames, whether in their original context or removed from it. I work with these architectural fragments, often overlooked or regarded merely as functional components. These “trans-sites” become markers that allow reflection on interior and exterior simultaneously, even when taken out of their initial context. They evoke temporality—past, present, and future—as well as the interstices where transformations and traces of time quietly emerge.
The window serves as a key motif in my exploration of place, its use, and its symbolism. Seen from the outside, a window frames a fragment of reality, offering it to representation like a pictorial canvas. From the inside, private space becomes permeable, allowing glimpses to escape; it opens onto another realm, inviting contemplation or imagination. Yet what is revealed is not always fully visible, or only partially so; the window participates in a delicate play between exhibition and concealment, acting as a springboard for the imagination. Conversely, elements of the public sphere can intrude upon the private, leaving their mark. In this way, the window attests to the reversibility and interconnection of spaces.
