Le Miroir-Voir originated as a play I wrote, subsequently translated into an installation and performance.

The work brought together painting, screen printing, copper photo-etching, drawing, a welded cage and theatrical production, constructing an environment in which the artist's studio became both a setting and a means of looking.

In its first iteration at the Slade School of Fine Art, the installation was divided into two rooms. The first reproduced my atelier, containing my paintings and other works. On one wall, laser-cut mirrored faces concealed openings at the position of the eyes. Looking through them revealed a second world, where I performed inside a welded cage.

The visitor entered what appeared to be a studio, surrounded by the traces of artistic production, before discovering that the space itself was a constructed viewpoint. The mirror became an instrument of observation, dividing the one who looked from the body being looked at. The play was no longer encountered through language alone: its architecture organised the conditions through which another scene could appear.

In 2020, I recreated Le Miroir-Voir inside my studio at L'Orfèvrerie in Paris. This time, the atelier was no longer a replica. The work was encountered through the intrusion of a fashion editorial shoot, introducing the camera and the apparatus of image production into a space already concerned with the staging of visibility. Between the two iterations, the studio moved from a reconstructed environment to an inhabited one. The work's relationship to its observer changed with it: from the visitor who discovers a concealed performance through the eyes of a mirror, to the photographic gaze that enters the artist's working space and produces another image of it.