Ode à ce qui reste

This series is a love letter to an island that has been part of my life for as long as I can remember. A place of refuge, reunion, and connection across generations, it has become, over the course of a life lived between several countries, my most precious anchor.

Through digital composition, I layer landscapes, everyday scenes, symbols, and fragments of memory to create a sensitive map of the island. Traditions, familiar objects, and contemporary references come together, creating a dialogue between memory and the present.

Ode to What Remains celebrates a place where time seems suspended, where generations meet, and where landscapes become fragments of memory. More than a place, the island becomes a language, an emotion, and a legacy we carry with us.

This work explores the need to break free from repetitive routines and the often-overlooked constraints of personal comfort zones. Throughout my life, frequent relocations to different cities and countries compelled me to constantly adapt to new environments, cultures, languages, people, and most importantly, to evolving versions of myself. This experience has instilled in me the confidence and strength to embrace exploration, fueled by the fear of the unknown.

This dreamlike piece reflects the comfort zone through modern objects and habits. Vivid architectural forms symbolize the clash between reality and dreams, the achievable and the unreachable. The black hole embodies the unknown, asking: should we embrace it? What lies ahead? Is there a final step, or can we always go further, achieve more, and grow better.

These two works explore feminine space as a space of resistance. Women and femininity are often associated with softness, obedience, order, restraint, with the idea of being composed, contained, and taking up as little space as possible.

Here, I wanted to do the opposite.

The rooms overflow. Objects accumulate, colors clash, proportions feel excessive, and the compositions flirt deliberately with kitsch, bad taste, and even the “ugly.” Nothing is quiet or perfectly controlled. The abundance becomes a form of presence: a refusal to shrink, simplify, or make oneself more palatable.

Through excess and accumulation, these works reclaim disorder as something expressive rather than shameful. They become a kind of visual disobedience: spaces in which femininity is allowed to be loud, contradictory, excessive, humorous, and unapologetically expansive.

These stop-motion animations are small self-portraits drawn from everyday life. Humorous, anecdotal and sometimes absurd, they explore the way women’s solitude is perceived and experienced.

Solitude is often framed as something to fear, correct or escape, particularly for women, and these works try to reclaim it instead as a space of freedom, autonomy and self-possession.

At the same time, they reflect the tension between that independence and the social expectations that continue to shape how a woman’s life is supposed to look, turning ordinary moments into small observations on freedom, loneliness, intimacy and choice.