In his essentially sculptural work, Baptiste Debombourg crosses information and material in experiments that turn out to be repressed, unspoken of, ignored stories. As an assumed “healing” artist, he cicatrizes the walls and furniture while he reveals their stigmas.
In this series, Inception II comes forward to impose itself through its monumentality, which then turns out to be paradoxical, precarious and fragile. The monument seems to be in convalescence, paying a tribute to destruction, to incomplete reparation, and to resilience rather than to power. This game of furnishing reconstruction, beyond its ironic aspect, is nourished by reflections on time, history, memory and dreams.