As part of a course called RATM, my classmates and I undertook a group project.
The main objective of this project is to manage the communication surrounding concerts organized at our school by creating visual and written content, such as posters, flyers, and web-to-print stickers.
By participating in this project, we actively contribute to the school's cultural life and showcase the artistic talents of our fellow students to the public. It's an enriching experience that combines academic learning with practical engagement.
Le point de départ repose sur une pratique singulière : l’usage d’un pendule comme outil de guidance.
Il a introduit un aléatoire dirigé et un dialogue avec
l’invisible, par exemple pour déterminer le nombre
de cercles ou les formes à explorer. Ce protocole m’a
menée à mêler croquis, poèmes et symboles, dans
une tentative de relier différents médiums, entre
visible et intuitif.
Dans cette continuité, j’ai souhaité partager l’expérience à petite échelle
avec des amis proches. Je leur ai proposé des exercices simples
pour activer une écoute plus intuitive et sensible. Les traces de ces
moments collectifs sont rassemblées dans cette édition, pensée
comme une restitution poétique et plastique de ces échanges
Of Earth and Brick is a project that explores the relationship between the outlying dwellings of the city of Cambrai and the surrounding nature.
In this project, I created a duotone edition, choosing to no longer process the photograph in a traditional way, but to work with the image in shades of gray.
This layering creates the illusion of a black and white image, similar to the others. On these tracing paper sheets, I added quotations from the Italian philosopher Emanuele Coccia, taken from his book The Life of Plants.
Poster for the 2023-2024 season of the "Deconstructing the Commission" lecture series at Ésac Cambrai, part of "Inventing One's Work," a project supported by the Ministry of Culture.
How do you label, standardize, and deconstruct a commission?
The forms featured on the poster were gleaned from the projects of each of the invited (and non-invited) participants. In total, 16 forms for 16 lectures. Even though ten of them were not selected, they literally form the foundation of the poster, presenting the final choice, the avenues explored, the changes in direction, and the rejected proposals.
These are all characteristics found in the development and evolution of a commission, the subject and focus of our "Deconstructing the Commission" series.
During a workshop led by Thibault Brunet,
the main objective was to "explore the possibility of creating unique images in the internet age, where we are constantly overwhelmed by an endless stream of images.
Why continue to photograph reality when everything seems already documented? Should we rethink our relationship with photography and adopt a new ecology of the image?
In this reflection, I asked myself another question: What if an image could, through its associated sound, generate another image? To explore this issue, I chose to use a video game I particularly enjoy: Minecraft.
In this project, I chose to work on the
response against animal exploitation in
laboratories, drawing on Albert Einstein's powerful quote:
“Hell does not exist for animals; they are already there.”
This quote highlights the atrocious reality
of the suffering inflicted on animals in
scientific experiments.
The poster I created features four
animals typical of these practices: the beagle,
the rat, the monkey, and the rabbit, in order to raise public awareness of their plight. My approach allows for
the adaptation of this image into postcards,
but also into vegan cosmetic products,
thus creating a bridge between art, activism, and ethical consumption.
The starting point is based on a unique practice:
the use of a pendulum as a guidance tool.
It introduced a directed randomness and a dialogue with the invisible—for example, to determine the number of circles or the shapes to explore. This protocol led me to
blend sketches, poems, and symbols, in
an attempt to connect different mediums, between
the visible and the intuitive.
In this same vein, I wanted to share the experience on a small scale
with close friends. I suggested simple exercises to them
to activate a more intuitive and sensitive listening. The traces of these
collective moments are gathered in this edition, conceived
as a poetic and visual rendering of these exchanges.
As part of the 75th anniversary of the Universal Declaration of Human Rights, this project aimed to pay tribute to this declaration in the form of a poster. I chose to specifically illustrate Articles 23 and 24, which address workers' rights and the exploitation of employees.
This is unfortunately still a relevant topic, particularly concerning the exploitation of children in some foreign countries, but also in Europe.
Similarly, the exploitation of workers was at the heart of the controversy surrounding the construction of stadiums for the 2022 World Cup in Qatar.
Dans le cadre d'un cours appelé RATM, les étudiants de ma promotion ainsi que moi-même avons mis en place un projet collectif.
L’objectif principal de ce projet est de prendre en charge la communication autour des concerts organisés dans notre école
en créeant des contenus visuels et rédactionnels, tels que des affiches, des flyers, stikers en web to print.
En participant à ce projet, nous contribuons activement à la vie culturelle de l’école et nous valorisons les talents artistiques de nos camarades auprès du public. C’est une expérience enrichissante qui combine apprentissage académique et engagement concret.
For a portrait project, I chose to
create a portrait of my grandparents through a
publication entitled My Grandparents Are Laughing.
This title is a reference to Richard Billingham's Ray's a Laugh, a series that inspired me with its simplicity and
its candid photographs, showing
authentic moments of life.
My goal was
not only to present a portrait of my grandparents,
but also to immerse you in their daily lives.
Fantasma Maps is a mapping project
on a theme of my choosing. I chose to explore haunted places
around the world, focusing on
their stories and legends. This work illustrates how
Europe and, especially, America are full of stories where paranormal culture plays a
central role.
To design this project, I was initially inspired by the artist Paul Cox, whose ability to juxtapose shapes and colors particularly impressed me.
As part of the 2023-2024 poster competition, open to all graphic design students, I had the opportunity to work on an important theme: “A Roof. A Right.”
This competition addresses the issue of housing, a fundamental right recognized internationally, but often treated as a commodity.
Globally, millions of people live in unsanitary housing conditions, in war zones, or in makeshift camps. Furthermore, the rising cost of housing severely impacts the most vulnerable in many cities.
This theme highlights the need for government intervention to guarantee equitable access to housing at a reasonable cost and thus improve the living conditions of the most vulnerable.
Dans le cadre du concours d’affiche 2023-2024, ouvert à tous les étudiants en graphisme, j’ai eu l’opportunité de travailler sur un
thème important : « Un toit. Un droit.» .
Ce concours pose la question du logement, un droit fondamental reconnu internationalement, mais souvent traité comme une marchandise. À l’échelle mondiale,
des millions de personnes vivent dans des conditions de logement insalubres, dans des zones de guerre ou des camps de fortune.
De plus, la hausse du coût du logement touche sévèrement les plus
démunis dans de nombreuses villes. Ce thème soulève la nécessité de l’intervention des États pour garantir un accès équitable au logement à un coût raisonnable et
améliorer ainsi les conditions de vie des plus vulnérables.
Who’s Made My Clothes is a project I created for Fashion Week. The idea was to wear images, so I chose to create a dress somewhat in the style of Paco Rabanne’s Experimental Dress, made of aluminum squares and rectangles, which he designed in 1966.
However, I added photographs from the “Who’s Made My Clothes” collection, which denounces the conditions of workers in textile companies. This collective, which emerged after the Rana Plaza disaster in 2013, aims to raise awareness about worker exploitation.
I wanted to symbolize this by placing these images behind me, showing that we continue to turn our backs on this reality.
