What was your objective going into the project and how did you manage to appropriate this space?
When I submitted my project to L’imprimerie and the curators, I wanted the work to draw from my own life stories, unfinished projects and the records that came out of these—sculptural artefacts, clothes, drawings, notes, etc. I thought I would use them to make these collages. Then, because I wanted to work with print, I thought about integrating a photocopy of myself in L’Écrin, a life-size printed effigy that could embody both a presence and an absence.
But it didn’t exactly work out that way, at least not at that scale. And so my alter ego became a puppet that I nicknamed Clothilde. I started making it two weeks prior to the beginning of the project, first designing it as a life-size prototype. Later I realized I found it more stimulating to make a smaller figurine. I tried to make Clothilde “like me”, and even sewed her a beige coat identical to mine. Her small built allowed me to manipulate her from above, creating a performative relationship. I’ve discovered that the art of puppeteering was not very far off from my regular art practice.