"Matière de l’invisible"

The project is dedicated to the phenomenon of memory—fragile, sensuous, and deeply personal. Through simple, everyday objects, the artist draws attention to a hidden value that often goes unnoticed in the flow of daily life. Fleeting events are not always registered by consciousness, yet they leave behind a material trace: a forgotten napkin, a book marked with a page, a glove that has lost its pair. In themselves, these objects hold no particular significance, yet they acquire it through their connection to a specific person, moment, or experience.  

Used day after day, these things quietly absorb lived experience, gradually becoming charged with a powerful emotional dimension. They turn into repositories of human feeling, material traces of shared moments—peculiar totems associated with loss, intimacy, and care. This project is about a radical attentiveness to the fleeting: about moments that pass unnoticed but gain weight in retrospect; about the quiet life of things that remain, still connected to the people and moments they belong to.

Porcelain, glass cloches, soil.  

The installation draws attention to the value of simple, everyday objects that often go unnoticed. An object becomes important if it belonged to a loved one or is connected to a particular event. Gradually losing its utilitarian function, such an object turns into a kind of totem, embodying a fragment of a past.  

The image of glass garden cloches refers to The Little Prince by Saint-Exupéry, where what becomes most precious to the protagonist is what he has cared for and protected. In the installation, the cloches cover utilitarian objects, granting them a precious status and transforming them into entities in need of protection.  

The whiteness and vulnerability of porcelain intensify this impression, turning ordinary objects into relics that are at once extremely fragile and valuable.

Dîner (Dinner). 
Video. 15:52 min. 2025  

The video transports us into the atmosphere of a summer dinner outdoors — simple, joyful, ephemeral. We see only fragments: hands, tableware, light, shadows. As with memories, it is not complete scenes that remain, but sensations — the sound of leaves, the clinking of glasses, the voices of friends, conversations of little importance, yet memorable precisely for that reason.  

This video speaks about the importance of small things and seemingly insignificant events. About the objects we use in everyday life and barely pay attention to, but which, over time, become not only utilitarian items, but true keepers of memory — a kind of totem connected to a loved one, to meaningful moments.  

A video about those moments that go unnoticed but suddenly take on significance.

The human impulse to preserve the ephemeral has its roots in childhood. The installation reimagines the ritual of making “secrets” (sekretiki)—a widespread practice familiar to many children in Eastern Europe—as a way of working with memory.  

Traditionally, a child would bury small treasures—flower petals, beads, candy wrappers—cover them with a shard of glass, and sprinkle them with earth, creating hidden micro-archives in courtyards and gardens. Here, the buried “secrets” are brought into the exhibition space and suspended in the air. Their shards of glass, recreated in plastic, become translucent surfaces for layered collages composed of photographs, drawings, and watercolours made specifically for the project, alongside found postcards.  

Freed from the ground and suspended in space, these fragile-looking fragments transform the private, hidden gesture of childhood into an open field of associations. Each one becomes a small archive in itself, bringing together traces of lived experience, imagined places, and found fragments of other lives. The installation revisits the “secret” as a simple act of preservation—an attempt to fix a fleeting moment, conceal it, and give it significance.

Personal exhibition. "Matière de l’invisible" (Matter of the Invisible). Salle des Cimaises, Saint-Étienne. France. 2026. Ceramics, installation, video, film photography.

Porcelain, plastic, LED, metal. Light reliefs further develop the theme of the instability of memory. Their plasticity is intentionally ephemeral: they emerge from darkness like dreams or half-forgotten images, blurring the contours of the real.

Film photography. Ph. 1, 3: Souillac, 2023. Ph. 2: Pilat Park, 2026