L’Hermite (2024 — Paris, Combo Magazine — Group show)

*L'Hermite* begins from a double meaning I find exact. In a circuit, resistance does not suppress the current: it slows and regulates it, converts part of the energy, and keeps the components from being destroyed by a flow too intense. In a life, certain resistances appear to stop us, yet oblige us to change rhythm, direction or form. Resistance is therefore not merely an obstacle but the condition through which raw energy becomes something else — transformation happening not despite it but *through* it.

The installation is built as an open circuit: cables left bare on the floor, conduits crossing the ceiling, electrical components exposed in the assemblages, several light sources in different colours. Electricity is invisible but binds every element materially; as elsewhere, the force itself is never seen — only the transformations it works on the space. Rational, mastered electric light coexists with the fragile organic flame of candles set among dried mushrooms and natural matter: two forms of energy sharing one cave. Where the earlier works materialise invisible forces, this one borrows a material law as a tool for thinking a life — an inner resistance is invisible, yet it becomes undeniable through the transformations it imposes.