The day Odile Payen-Redolfi proposed that I create an installation in one of the rooms of the Hotel Windsor, my first thought was of a mapping—a mapping of the elements that make up a hotel room: bedside tables, consoles, objects attached to the walls.
My aim was to transform these practical components into sculptures of fine, linear forms, like the body of a man lying on a bed.
The first three forms that make up the consoles, as well as the two bedside tables, are suspended metal droplets fixed to the wall with no visible means of support.
On the surfaces, a series of photographs of space. Lying on the bed, one sees only linear forms unfolding, like a representation of time itself. Through the play of light, ghostly shapes dissolve across the wall, offering a physically untouchable glimpse of something beyond reach—the improbable moment before sleep.
The two puzzles are, in my view, the first elements that compose the beginnings of the organization of one of the memory-times that we are.
