"Among the many novel ideas which the discovery of Photography
has suggested, is the following rather curious experiment or
speculation. I have never tried it, indeed, nor am I aware that
any one else has either tried or proposed it, yet I think it is one
which, if properly managed, must inevitably succeed.
When a ray of solar light is refracted by a prism and thrown
upon a screen, it forms there the very beautiful coloured band
known by the name of the solar spectrum.
Experimenters have found that if this spectrum is thrown upon
a sheet of sensitive paper, the violet end of it produces the
principal effect: and, what is truly remarkable, a similar effect is
produced by certain invisible rays which lie beyond the violet,
and beyond the limits of the spectrum, and whose existence is
only revealed to us by this action which they exert.
Now, I would propose to separate these invisible rays from the
rest, by suffering them to pass into an adjoining apartment through
an aperture in a wall or screen of partition. This apartment would
thus become filled (we must not call it illuminated) with invisible
rays, which might be scattered in all directions by a convex lens
placed behind the aperture. If there were a number of persons
in the room, no one would see the other: and yet nevertheless
if a camera were so placed as to point in the direction in which
any one were standing, it would take his portrait, and reveal his
actions.
For, to use a metaphor we have already employed, the eye of
the camera would see plainly where the human eye would find
nothing but darkness.
Alas! that this speculation is somewhat too refined to be
introduced with effect into a modern novel or romance; for what
a dénouement we should have, if we could suppose the secrets
of the darkened chamber to be revealed by the testimony of the
imprinted paper." - William Henry Fox Talbot, A Scene in a Library, in The Pencil of Nature, 1844.
Untitled 2025, C-type print on paper in plastic shelf, https://www.youtube.com/watch?v=sQ34NySXEhY, variable dimensions. Städelschule, Frankfurt am Main, Germany. Photo credit: Etienne Le Coquil
Untitled (pt.1) 2025, C-type print on mat paper in artist frame, 72 x 59 x 1cm. Städelschule, Frankfurt am Main, Germany. Photo credit: Etienne Le Coquil
Untitled II 2023, video on Nintendo Switch, 24 x 10 x 3 cm, no sound, 6:10 loop. Delfina Foundation, London, United Kingdom. Photo credit: Augustine Parades
Arson 2022, wood shavings, yoga mat, silicon, sofa, Nintendo Switch, Sunscreens, 686 x 686 x 343 cm. Rietveld Pavilion, Gerrit Rietveld Academie, Amsterdam, The Netherlands. Photo credit: Etienne Le Coquil & Tom Dulou
Complex 2020, ink on styrofoam, 180 x 250 x 5 cm. Villa Arson, Nice, France. Photo credit: Etienne Le Coquil
Immaculate 2020, wood, ceramic tiles, silicone, sunflower oil, Damien Troadec, variable dimensions, projection, sound, 40:00. Villa Arson, Nice, France. Photo credit: Etienne Le Coquil
Rose 2020, pork gelatin, 29 x 20 x 20 cm. Villa Arson, Nice, France. Photo credit: Etienne Le Coquil
(b. 1999, Villeneuve-Saint-Georges, France) live and work in Paris.
I studied at the Städelschule in Frankfurt-am-Main with prof. Haegue Yang until 2025,
at the Gerrit Rietveld Academie in Amsterdam until 2022, and at the Villa Arson in Nice until 2020.
My work has been presented in venues such as Komplex Gallery (Seoul, 2026) Kunstistituut Melly (Rotterdam, 2025),
Vietnam Art Collection (Hanoi, 2025), La Grainaterie Centre d’art (Houilles, 2025) Delfina Foundation (London 2023);
Center for Contemporary Art (Karlsruhe, 2023) and Zone2Source, (Amsterdam 2021).