SITE PLANS / DOLLS / SATELLITES

Monotypes, prints and oxidation on salvaged industrial drawings

This series was made using old industrial drawings salvaged from a disused industrial site. Already marked by time, folds, annotations and traces of use, these technical documents become the grounds for a process combining imprint, oxidation and printing.

Very heavy metal components were placed directly on the paper and left exposed to the air, allowing oxidation to transform the surface gradually. Chemical treatments accelerated these reactions, producing chance formations, runs, halos and areas of corrosion. These processes were combined with impressions made using printmaking ink, sometimes with a press and sometimes through the less predictable process of monotype.

The image thus takes shape through a succession of interactions between metal, paper, moisture, chemicals and time itself, extending beyond the artist’s gesture. Matter is at work. It imprints its own accidents, resistances and transformations.

The series unfolds in three groups:

SITE PLANS

These works retain a visible connection to their industrial origins. Existing technical lines, diagrams and architectural drawings enter into dialogue with traces of oxidation and metal impressions. The compositions evoke fragmentary cartographies, plans that have become illegible, ruined territories or abandoned structures.

The language of engineering gradually shifts towards a form of organic abstraction in which traces of a vanished industrial world persist.

DOLLS

These works retain a visible connection to their industrial origins. Existing technical lines, diagrams and architectural drawings enter into dialogue with traces of oxidation and metal impressions. The compositions evoke fragmentary cartographies, plans that have become illegible, ruined territories or abandoned structures.

The language of engineering gradually shifts towards a form of organic abstraction in which traces of a vanished industrial world persist.

Satellites

Built around circular forms, rotations and signs resembling orbital trajectories, these works develop a more cosmic and cartographic dimension. Metal impressions become celestial bodies, radars, cells or diagrams of movement.

Ellipses, repetitions and concentric structures produce unstable systems in which the eye hesitates between scientific observation, abstract writing and mental representation.

Across these three groups, the series explores the relationships between industrial memory, the transformation of matter and the emergence of forms. As is often the case in my work, the aim is to allow intermediate states to emerge rather than to produce fixed or self-contained images: between construction and erasure, archive and abstraction, remnant and living organism.