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With "Vere Papa Mortuus," I wanted to question the mediatization of death and the place of the sacred in the digital age. Appropriating the Paris Match cover dedicated to the funeral of the last pope, I was struck by the swarm of cell phones seeking to capture a final image of the sovereign pontiff. This gesture, deeply symptomatic of our times, seemed to me both inappropriate and revealing. I chose not to make the pope the center of the composition:… he only appears after the gaze has passed through the hashtags and signs of our connected society. The red of the chasuble, a symbol of love and sacrifice, dialogues here with the coldness of screens and the desecration of the collective gaze. Faithful to the LARTBATARD spirit, my intention is to shake up, to question the boundary between the sacred, image, and contemporary voyeurism, and to invite everyone to reflect on the dilution of meaning in the digital flux.
I created LARTBATARD, a form of artcycling born from urban collage, to offer contemporary art lovers images that resist simple “scrolling” and invite them to look differently. Using torn posters, printing inks and gestural painting, I develop six families of MadeReady (PhotosReadyMade, MadeReady_Paper, MadeReady_#Paper, MadeReady_Ink#artRevues, MadeReady_PaperInk and MadeReady_DrawInk) which replay the signs of our time and reveal its tensions. My series question identity, the body, migration and the memory of struggles, in a world saturated with images where every face seems replaceable. My works have circulated in galleries, in residences and online, in France and internationally; each piece functions for me as an archaeology of the present, a fragment of humanity to collect before it disappears.