ARTWORK
Cartographies de l’Invisible #10
2025
200 x 200 x 200 cm
Hand weaving · plant fibres · botanical dyes · installation
Unique work
about the artwork
In Cartographies de l’Invisible #10, the woven surface constitutes only one part of the work. The threads that compose it extend beyond the frame, descend to the floor and also unfold into the surrounding space.
The textile thus ceases to be solely a surface viewed from a distance. It occupies a volume, crosses different heights and physically engages the space in which the viewer stands.
The frame remains present and gives the woven section form, tension and scale, but it no longer entirely contains what constitutes the work. The same materials exist successively as surface, suspended lines and trajectories through space.
This installation marks an important stage in my inquiry into boundaries: not as something to be abolished, but as a structure that can give form while allowing matter to continue its existence beyond it.
MATERIALS & TECHNIQUES
what the work is made of
FIBRES
Cottons
Falé — Sine Saloum, Senegal; grown without irrigation and hand-spun · Cotton grown in Asia and spun in France by one of the country’s last remaining spinning mills, EPV-certified · Pakucho — Peru; native naturally coloured variety, undyed · Recycled cotton — Poland; processed without water or chemicals
Flax
Raw flax fibres · Unbleached linen yarn · Linen fabric — grown and processed in France
Other plant fibres
Raw wild hemp, gathered and hand-spun · Raw wild hemp, hand-gathered · Pure bamboo fibre, non-viscose
Foraged wild plants
Wild carrot · Marsh iris · Common rush · Bay laurel · Cattail — gathered by hand from the environments around me and incorporated directly into the weaving
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
Agrimony · Dyer’s coreopsis · Sulphur cosmos · Walnut · Ochres and bauxites gathered in Les Baux-de-Provence · Onion · Osage orange · Inonotus hispidus · Tea
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 · Natural dyeing · Hand weaving on a rigid-heddle loom · Direct incorporation of foraged plants · Mounting on a stretcher · Spatial installation · Framing and woodworking
frame
Olive wood · Frame made from sustainably managed French wood and worked in the Gard
Pine stretcher
history of the work
What is unique to this work
process
In this work, I extended some of the threads far beyond the woven surface. Some descend from the frame to the floor; others unfold above and around it, bringing the textile into the architectural space.
The gesture does not consist in adding something around a completed wall-based work: the very threads that compose the weaving continue their trajectory beyond the surface.
The installation varies slightly according to the place in which it is presented. The frame remains its point of concentration, while the fibres use the floor, height and surrounding space to continue the form.
exhibitions & awards
Variations Textiles XXL
OpenBach · Halle Roublot, Fontenay-sous-Bois · 2026
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