ARTWORK
Cartographies de l’Invisible #08
2025
128 × 66 cm
Hand weaving · spinning and felting · natural fibres · botanical dyes
Unique work
about the artwork
In Cartographies de l’Invisible #8, the entire surface is constructed from a single continuous thread in which different materials, thicknesses and colours follow one another.
Mérinos d’Arles, flax and recycled cotton thus appear as successive states of the same line. As the thread moves across the surface, the materials change, certain colours appear and disappear, and textures and densities are transformed.
This continuity is constructed, but not entirely determined. I composed the sequence of fibres and colours beforehand, then plying and weaving shifted their encounters and redistributed their presence across the surface.
A single line thus runs through the entire work: continuous in its structure, but constantly transformed in what it gives to see.
MATERIALS & TECHNIQUES
what the work is made of
FIBRES
Wools
Mérinos d’Arles — Bouches-du-Rhône
Plant fibres
Flax
Cottons
Recycled cotton
The different materials are introduced successively into a single continuous thread before it is plied and then woven.
Materials may be used in different states — raw, carded, spun, plied, felted or woven — according to their properties and what they make possible within the work.
colours / dyes
Madder · Indigo · Laurel · Rosemary · Onion · Turmeric · Inonotus hispidus
The dyes are made from plants, fungi, soils and other gathered, recycled or cultivated materials, without commercially produced mineral or metal mordants. Dye baths are used to exhaustion, and residues are composted whenever their nature allows it.
techniques
Hand spinning on a spinning wheel · Construction of a continuous thread through successive fibres and colours · Plying · Natural dyeing · Hand weaving on a rigid-heddle loom · Felting · Mounting on a stretcher · Framing and woodworking
frame
Ash · Wood from sustainably managed French forests and worked in the Gard
history of the work
What is unique to this work
process
The entire work was woven from a single continuous thread that I constructed by sequencing Mérinos d’Arles, flax and recycled cotton, together with different colours.
I determine the order and sequence of these materials and colours beforehand. There is therefore a significant degree of construction and control in the preparation of the thread.
But this control becomes partial during plying: the sequences shift in relation to one another, meet differently and produce combinations that I cannot predict precisely. Weaving then introduces another transformation by redistributing these changes in material, thickness and colour across the surface.
The work is thus constructed from precisely prepared conditions whose consequences become partly unpredictable through plying and then weaving.
I do not work with chance: I decide, act and direct the process, then continue from what these operations have actually produced.
exhibitions & awards
Oh My Laine! — Paris Design Week
Galerie Joseph, Paris · 2026
about this work
For any request about this artwork
Availability, exhibition, acquisition or project.