Physics and biology books derived from the archive of the French National Center of Scientific Research.
81x54 cm - 31,5x21 in
Métamorphique
Drawing from discarded Physics and Biology books in the CNRS archives, the “Métamorphique” series explores the concept of recycling in the age of digitalization through the lens of material transformation. The term “metamorphic” is borrowed from geology, where rocks undergo profound structural changes under pressure and heat without melting.
This project examines the implications of paper’s obsolescence as an information medium, questioning what becomes of knowledge when its physical support is deemed expendable. As scientific archives are digitized and their paper originals discarded, these books, once vessels of discovery and learning, enter a liminal state between waste and potential. The work delves into new dimensions of reading, where the materiality of the page supersedes its textual content, and the act of folding becomes a form of reinterpretation, obsolescence becomes resurrection, and the end of one life cycle marks the beginning of another.
This metamorphic process operates as a form of mnémoplastie, sculpting memory itself. The folded books become palimpsests where scientific knowledge, rather than disappearing, undergoes a mnemonic transformation. Each fold consolidates what the book remembers of its former purpose, creating stratified traces that resist complete erasure. What appears as material obsolescence reveals itself as hypermnesia: the discarded archive remembering more intensely through its physical transformation than it ever did as a consulted text.
Physics and biology books derived from the archive of the French National Center of Scientific Research.
80x80 cm - 31,5x31,5 in
Physics and biology books derived from the archive of the French National Center of Scientific Research.
50x50 cm - 20x20 in
Physics and biology books derived from the archive of the French National Center of Scientific Research.
52x32 cm - 20,5x12,5 in
Chronotopique
The “Chronotopique” series explores the intersection of space and time through the transformation of matter. The term “chronotopic” refers to the merging of temporal and spatial dimensions, a concept borrowed from the theory of relativity, where geographical maps become receptacles of memory, their folds recording both the journeys undertaken and the passage of time itself.
Each fold becomes a chronotope: a point of convergence where distance traveled and time lived condense into a single point. The maps, marked by repeated folds, bear the traces of countless itineraries, transforming cartographic space into a medium for lived experiences that carry information and allude to the theory of quantum memory.
The work explores how memory is sedimented in matter, how space bends under the weight of time, and how this act of bending becomes a meditation on relativity.
Discordantique
Born from a period of personal upheaval, the “Discordantique“ series explores the concepts of destruction and reconstruction through the geological phenomenon of unconformity, the meeting of rock layers of vastly different ages and origins, separated by erosion, time, and tectonic forces. The term “unconformity” refers to the surface that separates two sequences of strata with distinct histories, a break in geological continuity that, paradoxically, creates new formations by linking disparate temporal fragments.
This series emerged from the deconstruction of unsatisfactory, failed works born of a chaotic period. The canvas shattered, its fragments scattered like tectonic plates after a rupture. Later, some pieces were distorted, others reassembled into two new compositions, creating an assemblage of memory and matter. To these remnants were added pages from the Korean Jikji, a Buddhist text and the first printed book in history (1377), as if to suture the wound, in the spirit of kintsugi, the Japanese art of repairing broken ceramics with gold, where the repair celebrates the fracture rather than erasing it.
The work does not conceal its history of fragmentation, but rather celebrates it, making visible the discordances, the ruptures, the missing intervals, the abrupt transitions between incompatible times. What emerges is neither the restoration of the original nor its complete erasure, but a third state: a discordant stratigraphy where personal trauma and historical memory, destruction and repair, past and present converge on the same surface. In these discordances lies not weakness, but resilience: the capacity to hold together contradictory temporalities, to bring forth beauty from discontinuity, to transform the violence of rupture into new creation.
Orogenèse
Book pages and maps - ink
Discordance - 지질학적 부정합
Korean Hanji paper (mulberry leaves) and pages from Jikji - 직지 (Buddhist teaching book), first book printed in metal characters in history.
81x54 cm - 31,5x21 in
Noyau - 핵심
Pages from Jikji - 직지 (Buddhist teaching book), first book printed in metal characters in history.
80x80 cm
Trou noir - coupe
Physics and biology books derived from the archive of the French National Center of Scientific Research.
50x50 cm
Régénératique
The “Régénératique” series explores cycles of regeneration through land art interventions that symbolically reintegrate paper into the organic world from which it originates. The term “regenerative” refers to processes that not only avoid harm but actively restore ecosystems, going beyond mere sustainability to create a positive ecological impact.
Replanter les livres, Jeter l'encre, Retrouver la mémoire, created for the Lieurac Land Art Festival in Ariège, symbolically reintegrates books into the soil from which their paper came. “Fugue de papier”, musical scores folded and then glued onto beech tree trunks in Finieyrols, in the Aubrac region, creates ephemeral notations on the bark.
These interventions are then removed because the ink and glue are not biodegradable, and they only have a symbolic and ephemeral value, highlighting the problem of the materials complexity making it impossible to biodegrade all of its objects, even the simplest ones.
Replanter les livres
Jeter l'encre
Retrouver la mémoire
Books found in a book box on the path
Lieurac Land art festival - Ariège
Fugue de papier
Musical score of a fugue on a beech tree trunk
Finieyrols - Aubrac
Pages from Geology book on slate
Finieyrols - Aubrac
Branches
Pages from History book on wood
Finieyrols - Aubrac
After studying history, geography and art at Université Paris Cité, and earning a degree in graphic design from École Estienne Paris, Erwan Soyer has been developing an artistic practice since 2010 that explores the mechanisms of memory and forgetting. His work draws inspiration from surrealist poetry, geological processes, theoretical physics, neurosciences and psychological concepts.
Working primarily with books and archives destined for destruction, including archives discarted after digitization, or simply salvaged book pages, his practice explores the material obsolescence of paper as a metaphor for the psychological processes of erasure and persistence. His work examines what exists on the margins: materials that have exhausted their primary function but retain a latent potential, like repressed memories harboring dormant meaning within the psyche.
Developing a paper-folding technique inspired by Baroque art and geomorphology, and working with materials in a raw and organic way, his approach can be described as Mnemoplasty (from the Greek mnêmê, memory + plastos, molded), sculpting memory as an artistic material. His work considers paper, the medium of information, as an analogy for brain neuroplasticity. Folding, erasing, inked, reflect how memory is neither fixed nor lost, but perpetually reshapeable. His work draws on scientific processes: metamorphic transformation, chronotopic fusion, geological discordance, stochastic perturbation, psychological anamnesis... considered as resources structuring both the visual appearance and the mental experience of the pieces.
His work has been exhibited internationally, including a commission for the private collection of the Alpina Hotel in Gstaad, Switzerland, alongside works by Gerhard Richter, Antoni Tàpies, Louise Nevelson, Tracey Emin, Henri Matisse, Isa Genzken and Rirkrit Tiravanija. And site-specific installations in Jackson Hole, Wyoming, and Villars-sur-Ollon, Switzerland. His works are also featured in private collections in New York and Los Angeles. He has also completed numerous commissions for publishing and the press: five illustrations for the Bavarian State Opera in Munich, two book covers for Juan Villoro published by George Braziller in New York, a cover for the Süddeutsche Zeitung Magazin, and an illustration for Le Monde Diplomatique.
Art Commissions - Illustrations
Art collector - Los Angeles - 2024
1 large piece
Le Monde diplomatique - 2023
1 illustration
The Missouri Review - 2021
Cover - 1 illustration
Domaine du Roc - Villars-sur-Ollon - Switzerland - 2021
2 Diptych (100x70cm)
Süddeutsch zeitung magazin - 2018
Cover - 1 illustration
Domaine du Roc - Villars-sur-Ollon - Switzerland - 2017
1 Triptych (92x73cm - 36x29in)
George Braziller publishing - NYC - 2015-16
Juan Villoro’s books - 2 covers
Shooting Star - Clubhouse in Jackson Hole - Wyoming - 2015
2 pieces (92x73 cm - 36x29 in and 55x33cm - 21,5x13 in)
Art collector - NYC - 2014
1 large piece
Trip and Tpm magazines - São Paulo, Brazil - 2014
2 illustrations
Causette magazine - 2013
2 illustrations
Bavarian Opera - Munich - 2013
5 illustrations - Max Joseph magazine
Alpina Gstaad Palace - permanent collection - 2012
Triptych (92x73 cm - 36x29 in) Ordered by Soho Myriad Art consulting London
Exhibitions - Interventions
Replanter les livres, Jeter l'encre, Retrouver la mémoire - 2021
Lieurac Land Art Festival, Ariège
YONG - 2018
MO.CO. Montpellier - Contemporary art museum
Festival Corée d'ici
RE—PLI - 2015
Collective exhibition - Centre d'art La Fenêtre
Montpellier
More Money More Problems - 2013
Collective exhibition
3/some Art space - Cergy
Urgent !! 3 - 2013
Residence - exhibition - performance - Collectif Patrice Soletti
International Art and Landscape Centre - Vassivière
100 Days 100 Curators - 2012
Online exhibition, selected by Amanda Hunt
Saatchi Gallery - London
Territoire négatif - 2012
Photographic projection based on a reading of the text “Buildings” by Pierre Soletti at the Montpellier Microfestival - La Baignoire
erwan-soyer.tumblr.com
The Artling
Contact
06 77 48 50 32
erwan.soyer.art@gmail.com
Résilientique
The “Résilientique” series documents the paradoxical spaces of botanical gardens, the Serres d'Auteuil in Paris and Kew Gardens in London, where scientific research and public spectacle converge within architectures of conservation and captivity. Photographed through glass that functions simultaneously as windows and barriers, these images question humanity's persistent drive to master the plant world.
This desire to control nature dates back to the Neolithic Revolution. Greenhouses represent its culmination: hyper-controlled microclimates where temperature, humidity, and light are regulated to maintain ecosystems uprooted from their native geographies.
Charles Darwin understood that survival depends on the capacity for adaptation, a resilience acquired through constant interaction with a changing environment. The paradox lies in the fact that these spaces designed to protect create a new fragility. Plants kept in greenhouses develop an absolute dependence on human control. They lose their natural resilience. The sanctuary becomes ecological atrophy: the specimens survive only through constant technical intervention.
These institutions, veritable laboratories of life, have also been essential to the scientific understanding of biodiversity and the conservation of endangered species, while contributing to the dissemination of botanical knowledge and serving as sources of pharmaceutical discoveries. The greenhouse thus emerges as a site of ambivalence: sanctuary and cage, preservation and absolute control.
Serres d’Auteuil - Paris
Kew gardens - London
Métastabilique
In psychology, the metastable state refers to an apparently stable, functional consciousness that continues to exist, but is held back by an invisible inner barrier that prevents it from tipping into action. It is not the absence of desire, nor the paralysis of the body, but rather a psychic energy that accumulates without being able to be converted into movement. Sartre, in Being and Nothingness, precisely names this condition, “man is what he is not and is not what he is“, a consciousness that contains everything necessary to act, that knows what it must do, but that remains suspended in this vertiginous in-between that he calls freedom, and which is strikingly similar to a condemnation.
Hamlet is its perfect literary embodiment: the will is there, the desire is there, but something between the two creates a barrier, repeats the hesitation, indefinitely postpones the act. He draws his sword and sheathes it. He moves forward and backward. He thinks, turns the question over and over, postpones, hesitates, “to be or not to be”. The Tristan diptych evokes the metastability of love, while Tristan and Isolde is the story of two beings immobilized by an impossible love.
In geology, this phenomenon has its equivalent in rock in metastable equilibrium, a rock that should transform under the effect of pressure and temperature, that possesses all the necessary conditions, but that remains frozen in its previous state. In physics, the Lagrange point designates the exact point of equilibrium between two gravitational bodies, the place where two attractions perfectly cancel each other out and where any object placed there remains suspended, unable to move toward either one.
Exhalatique
The word "exhalation," from the Latin exhalare, from ex, out, and halare, to breathe, refers to the process by which a sponge expels water and its waste. Some people absorb the emotions of others like a sponge absorbs water. This is called hyperempathy, this emotional permeability that often develops in childhood, in environments where one had to be attentive to the moods of others in order to anticipate, understand, and survive. The emotional sponge does not choose to absorb; it is built that way, pore by pore, by what it has experienced. It carries within it the sadness of others, their betrayals, their impossible loves, their pain, but also their joys, their humor, their passions, their wisdom.
These two pages from the romance of Tristan and Isolde, when Tristan dies before Isolde can join him, when the most absolute love ends in longing and too late, served as the basis for a reverse gesture. A sponge soaked in ultramarine ink, placed in the center of the closed book, is pressed down forcefully. It is no longer absorption, but expulsion, exhalation. The sponge, saturated with what it has held for too long, finally releases all that it contained, depositing it onto the pages that bear the original story of this pain. This projection, resembling a Rorschach test, reveals the unconscious made visible by the pressure. In psychology, this process is called catharsis, from the Greek katharsis, meaning purification.
Néogénétique
Néogénétique is a three-part series exploring the memory transformation of trauma as a creative process. The title draws inspiration from geology, where neogenesis refers to the formation of new minerals during the metamorphosis of a rock, and from neuroscience, where neurogenesis and synaptogenesis describe the formation of new neurons and synaptic connections.
Based on the work of Joseph LeDoux on memory reconsolidation and Eric Kandel on synaptic plasticity, this series visualizes how trauma generates entirely new psychic structures.
Using the same process, pages from psychology books immersed in colored solvents, which absorb the rising inks by capillary action, the three series document this neogenesis.
Pages from psychology books
ink - acetone - rubbing alcohol
In psychoanalysis, abreaction refers to the reduction of emotional tension when the affect and verbalization of the memory simultaneously erupt into consciousness. An emotional discharge process that, by releasing the affect linked to the repressed trauma, negates its pathogenic effects. Colors invade the paper as affects overwhelm consciousness, irrepressible, necessary, liberating.
Pages from book
ink - acetone - rubbing alcohol
Pages from Kafka's The Metamorphosis, gradually absorb ink, shifting from red to blue. Within this window of memory plasticity, the traumatic memory becomes transformable, labile, the nature of memory changes, and synapses are reconfigured. Through various methods (EMDR, Brunet), the trauma is transmuted into a more peaceful memory. The memory remains, but without the paralyzing burden.
ink - acetone - rubbing alcohol
The traumatic memory reconsolidates and then generates new narrative structures, new meanings, new connections. The assembled pages form a horizon that did not previously exist. Like synaptic connections, a new perspective emerges, a transformed psychic landscape. This is post-traumatic growth: the trauma, metabolized, integrated, becomes a source of wisdom, empathy, and strength that could not have existed without the experience.
Libellique
In geology, a libella refers to a bubble of gas trapped within a fossilized liquid, enclosed in the cavity of a crystal. Mobile yet captive, it moves, separates, and reforms, never able to escape. And in its very mobility, it preserves the exact memory of the original conditions at the moment of crystallization. This series consists of nine pages from Kafka's “The Metamorphosis” immersed in a bath of colored solvents mixed with oil. Where the ink invades the paper, the oil resists, forming organic, living, irregular cavities, within which the paper remains white, the text intact. Nine pages, nine states of the same bubble that is born, divides, contracts, and persists.
What these bubbles tell us is this: at the heart of every metamorphosis, something resists invasion. Not through rigidity, but through an internal pressure that keeps the space open; this is what geology calls paramorphosis, the structure preserved under pressure. Integrity and alteration are revealed here as inseparable: the bubble would not exist without the pressure of the liquid around it; the metamorphosis has taken place, and something at the center has not surrendered.
Parachronique
A parachrony, from the Greek words para, meaning beside, and chronos, meaning time, is a gradual and silent shift of inner time away from shared time, night after night, until the self lives in a psychic state radically different from that of the world around it. It is no longer just time that slips away, but the relationship to oneself that fractures. The self withdraws behind a pane of glass and observes its own life from the outside, a spectator of its own wandering, a stranger to what it once was. Hopes fade, values lose their hold, and confidence, in oneself, in others, in the world, disintegrates.
In geology, parachronism refers to a fossil whose dating does not correspond to the stratum in which it is found, material that is physically present but temporally elsewhere, belonging to a different era than the one surrounding it.
These pages by Nerval, Baudelaire, Rimbaud, Mallarmé, poets of the night and of wandering, have been assembled into a succession of celestial bodies, moons, planets torn from their orbits, finally escaping the attraction that held them and traversing the series until they break free from the frame. Eight cycles, like the eight phases of the moon. Time counted in revolutions when all other points of reference have been lost.
Astroblèmique
An astrobleme is the scar left by a meteorite impact, a sudden, total destruction that forever reconfigures the surrounding landscape. Its exact psychological equivalent is shock: the brutal freezing of the nervous system in the face of the intolerable, when consciousness ceases and the body remains petrified before the disaster. These six pages of Victor Hugo's Contemplations—the book open at the moment of impact, were covered with ochre and dark red pigments, cigarette ash, and cellulose thinner. The lava engulfed everything. The text almost disappeared.
Hugo wrote Contemplations from his own abyss, after the brutal death of his daughter. Stupefaction and contemplation share the same fundamental stillness: in both cases, one can only be there, standing, facing what surpasses understanding. Arranged in two vertical columns, these pages form totems, commemorative stelae of an event that the body has not yet finished registering.
Effacement automatique
In dialogue with the Surrealist practices of automatic writing, the "Effacement automatique" series reverses the creative gesture: rather than generating text through an unconscious flow, these works exhume a latent poetry through selective erasure. Using pages torn from discarded books, they create accidental poems that emerge from the suppression of the surrounding text.
Where automatic writing sought to circumvent rational control to access the unconscious, automatic erasure reveals what lies dormant within existing texts: hidden narratives, unexpected juxtapositions, and semantic ruptures previously illegible. The act of erasure becomes a form of anamnesis, a method for discovering what the text secretly meant, like traumatic memories that resurface intermittently and in fragments, rather than through a linear narrative.
On some pages, oil paint is applied, forming bubbles of memory where words and maps mingle like dream fragments. These bubbles evoke the mechanisms of cryptomnesia: how certain words, phrases, or images spontaneously emerge from the depths of consciousness, while others remain buried, subject to a kind of amnesia.
Like dreams that condense and alter the meaning of thought, these automatic erasures transform the prose of abandoned books into enigmatic verses, traces of a mysterious unconscious, now reconfigured into new forms of uncertain and fragmentary beauty. They map the topography of forgetting, where some words become elusive territories, while others emerge with unexpected clarity from the erased page.
Rêve
Page from book
Terre
Page from book
Victoire
Page from book
Ma Lisa
Page from book
Phénix - φοῖνιξ
Ancient Greek - Probably meaning "blood red"
Page from book - oil paint
Pax
Page from book
Apolline Juna
Page from book
Gloria Erell
Page from book
Tranquille
Page from book
Jusqu’au
Page from book
The tempest
Page from book
Oiseau
Page from book
Le coup de tonnerre
Page from book
Oui
Page from book
Souvenir du futur
Page from book, oil paint
Psychogénéalogie
Page from history book, map, oil paint
Acte manqué
Page from history book, map, oil paint
Aboulie Géopsychique
Page from history book, map, oil paint
Histoire ancienne - 古代史
Page from historical atlas, oil paint
Pédagogique
Created for a children's book, the “Pédagogique” series features collages of engraved vegetables surrounded by curious little hands engaged in playful experiments: measuring with calipers, timing, tapping with a hammer, and examining them with a magnifying glass.
The series uses humor and surreal juxtapositions to spark curiosity about vegetables. By transforming familiar foods into objects of scientific wonder, it suggests that everyday produce deserves the same attention and respect as rare discoveries. The absurdity of the experiments, tapping a mushroom, timing a pea, creates a visual humor that restores interest to vegetables, not through nutritional lessons, but through the pleasure of observing them closely and imagining them in a new light.
Phusis - φύσις
Natural phenomena - Ancient Greek
Engraving, collage
Le navet
Engraving, collage
L’asperge
Engraving, collage
Le champignon
Engraving, collage
Les pois
Engraving, collage
Symbiotique
The Symbiotique series explores humanity's place in the vastness of space through collages that layer astronomical images, terrestrial landscapes, and human silhouettes. Through negative space cutouts, these works create a visual dialogue between scales: the infinitely large in dialogue with the infinitely small.
The symmetry of the images suggests both belonging and complementarity, a reciprocal relationship between what humans extract from nature and what nature imposes upon them. Does humanity remain subject to cosmic forces, or has it itself become a geological force? In an era where human activity is reshaping planetary systems, the Anthropocene, the series questions the possibility of new forms of symbiosis.
By superimposing images of radically different scales, terrestrial surfaces, celestial bodies, chromatography, the work abolishes distances, suggesting that the local and the cosmic, the intimate and the vast, coexist on a continuum. What emerges is neither separation nor exploitation, but a complex coexistence: human beings shaped by environmental forces, learning to coexist within systems that transcend them, finding their place not through exploitation but through participation.
Pandemique
Created during the COVID-19 pandemic, the Pandémique series juxtaposes images of boats with biological photomicrographs from CNRS archives, magnified views of cellular structures, microorganisms, and organic matter. The collision of nautical imagery with biological abstraction creates a visual metaphor for navigating invisible threat: boats adrift on surfaces that resemble viral cultures, sailing through magnified bodily landscapes, attempting passage through territories simultaneously vast and microscopic.
The boat, historically a symbol of journey and quarantine (the term itself derived from quaranta giorni, the forty days ships were isolated during plague), becomes a figure of uncertain navigation through biological crisis. These vessels float on what could be ocean surfaces or cellular membranes, traverse what might be waves or viral particles. The pandemic collapsed distances while magnifying the invisible: what threatened us existed below perception, yet its effects were globally felt. These works operate in that scalar ambiguity, are we looking at seas or cells, at maritime charts or microscopic slides?
The boats navigate these uncertain waters without clear destination, embodying the experience of moving through a crisis whose scale and trajectory remained fundamentally unpredictable.
Mars
Biological Photomicrography
CNRS Archive
Avril
Biological Photomicrography
CNRS Archive
Mai
Biological Photomicrography
CNRS Archive
Juin
Biological Photomicrography
CNRS Archive
Juillet
Biological Photomicrography
CNRS Archive
Août
Biological Photomicrography
CNRS Archive
Septembre
Biological Photomicrography
CNRS Archive
Géopoétique
Created during a residency in 2013, at the Centre International d'Art et du Paysage de l'Île de Vassivière for URGENT !! 3, a collaborative intervention with the collective Patrice Soletti, the Géopoétique series engages with the intersection of geography and poetry, the practice of writing that emerges from and responds to place. The term derives from the geopoetic movement founded by Kenneth White, which proposes that landscape is not merely setting but active participant in the generation of thought and language.
Working with poems Fabrice Caravaca had written while circumnavigating the island, the project retraces his path, a practice that also echoes the Situationist concept of dérive (drift) theorized by Guy Debord, where walking becomes a method of psychogeographic investigation, revealing how terrain shapes perception and emotion. Walking the same circuit, photographing these texts at the locations where they were believed to have been composed, the work attempts to reunite words with the landscapes that generated them, creating a temporal and geographic echo between two acts of walking separated by time.
Dédalique
These photographs of the Carrières de Lumières in Les Baux-de-Provence transform these ancient limestone quarries into abstract labyrinths. Excavated since Roman times and geometrically hewn until 1935, these underground chambers now appear as disorienting mazes where shadow and light trace angular and mysterious passages.
The labyrinth serves as a metaphor for the scientific process: a journey of wandering, dead ends, and sudden illuminations. Like the labyrinth of Daedalus or the uncertain flight of Icarus, research progresses through trial and error, mistakes, and the gradual exploration of unknown territory. The geometric precision of the hewn stone blocks contrasts with the organic uncertainty of navigation, creating a visual tension between the imposed order (the hewn walls) and the experienced chaos (the researcher lost within).
In this subterranean maze, light becomes the thread of Ariadne, the guiding principle which, if followed, can lead from darkness to understanding.
Stochastique
This series arises from a disruption of the cartographic act itself. Maps, instruments designed to fix space in stable and rational coordinates, are subject to stochastic movements, that is, movements arising from chance, during digitization, transforming geographical certainty into oscillating traces. The result is visual artifacts that resemble recordings of scientific data: seismographs measuring tectonic movements, electrocardiograms capturing the heart's electrical activity, electroencephalograms recording neuronal activity.
Geography becomes physiology; the map ceases to represent the territory and instead records the unstable conditions of its own capture, like the uncertainty principle borrowed from quantum mechanics and chaos theory. The act of measurement in the presence of random movement inevitably disrupts what it seeks to document. A map claims to offer an objective, deterministic truth, but the act of digitizing in motion reveals what cartography represses: space is never static, movement is inherent, and observation itself participates in the generation of what it observes. What appears on the page is not a territory, but the turbulent interface between deterministic intention and stochastic deviation, the collision of order and chance.
The resulting images oscillate between control and chaos, rationality and organicity. They are maps that have forgotten how to map, geographical data transformed into pure signal, visual frequencies of a world in perpetual motion, refusing to be fixed, claiming its right to vibrate, to oscillate, and to escape the frameworks we impose upon it. Reality, when observed in motion, becomes probabilistic, and the world resists all attempts at control.
N° 01
N° 02
N° 03
N° 04
N° 05
N° 06
Infinitique
These negative photographs of sand surfaces create ambiguous terrains where scale becomes indeterminate. The images oscillate between the infinitely large and the infinitely small, lunar landscapes photographed from orbit, or microscopic granular structures. A grain of sand resembles a crater; ripples appear like galactic formations.
This erasure of scale evokes the convergence sought by the theory of everything: the unification of quantum mechanics and the theory of general relativity, which respectively describe phenomena at the microscopic and macroscopic levels. The negative inversion further destabilizes perception; what emerges is neither landscape nor microscopy, but a pure form existing beyond the human scale, suggesting that reality, at its most fundamental level, operates where the infinitely vast and the infinitely small become indistinguishable—the territory where any theory of everything must be situated.