Visualize a jacquard fabric: flowers appear on the front, while on the back, floated threads — invisible — provide the structure. If these threads are cut, the patterns unravel, fade, disappear.

This principle is at the heart of my approach.

Like textile, the stage relies on an essential duality: without the technicians behind the scenes — lighting, stage management, backstage — the visible body, that of the performer, cannot fully exist. The front and the back are inseparable, complementary, necessary.

In my textile work, I make this relationship visible by juxtaposing the front and the back on a single surface. I reveal what is usually hidden, giving equal value to these two realities.

This approach is rooted in a broader reflection on the invisible structures that support our perception of the world. I draw inspiration as much from 16th-century historical tapestries, such as Les Honneurs, as from contemporary and underground aesthetics, to question systems of representation, hierarchies, and the arbitrary boundaries between what is shown and what is hidden.

My work is a sensitive and visceral response to questions of identity and duality — nourished by my own cultural heritage — where opposites do not exclude each other but coexist.

By highlighting the reverse as much as the front, I seek to reduce the distance between the visible and the invisible, and to reveal the beauty, necessity, and strength of what acts in the shadows.