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LAB
We Are All Meursaults
Painting, Photography, Collective Performance
We Are All Meursaults is an artistic laboratory, a space where I explore the interactions between territory, philosophy and social transformation, combining painting, photography, writing and installations. I conceive my projects as experiments in the embodiment of concepts, seeking to experience abstract notions through various mediums. In my work, the territory becomes a living actor, capable of influencing our subjectivations as much as we influence its evolution.
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THE INVINCIBLE SUMMER
An artistic and spiritual exploration that led to the creation of ATTHIA (www.atthia.ch)
PROJECT OVERVIEW
"L’Été Invincible" is a sensory and philosophical exploration of summer as a state of transcendence and subjectivation. More than a season, summer is a vital force, a moment of intensity where time stands still, where light and heat change our relationship with the world. This project questions how this state can be translated through visual, olfactory, and gustatory forms, combining painting, writing, photography, and distillation. This creation was in fact the first for the ATTHIA spirits brand.
At the heart of this project, spirits play a central role, not only as a sensory embodiment of summer, but also as a vehicle for transcendence and sharing. Exhilaration, far from being simply a physical state, is here considered a philosophical concept, a threshold where the perception of reality is blurred, where the body and mind open up to a different understanding of time and sensations. Through iconographic and gustatory research, L’Été Invincible offers a map of summer through its images, colors, aromas, and sensory experiences, questioning how memory, climate, and matter shape our relationship to pleasure and excess.
KEY FEATURES
01 Painting: work on color, light, and textures to express the sensations of midsummer.
02 Writing: reflective texts on the notion of summer as a philosophical and urban experience.
03 Distillation and Spirits: sensory materialization of summer through essences and aromas. 04 Photography: Capturing moments of burning and plenitude, scenes of intense heat and the dilution of forms in light.
PROJECT IN NUMBERS
7 text panels
12 acrylic paintings
2 spirits (liqueur and vodka)
SPECIFICITIES
One of the major focuses of L’Été Invincible is based on in-depth iconographic research, aiming to map representations of summer through art history, photography, and contemporary visual culture. This study is not limited to an aesthetic analysis, but examines how light, heat, and plant materials have influenced sensory and mythological narratives of summer. It interacts directly with distillation and blending work, carried out over 18 months of experimentation, aimed at transposing these visual and climatic sensations into a unique taste and olfactory experience.
This research led to the development of ATTHIA (www.atthia.ch), a spirits brand conceived as a true liquid translation of concepts.
L'Été, created from a blend of 11 carefully selected ingredients, is built around a solar and plant-based base, where aloe vera plays a central role, bringing an unusual texture and freshness to the field of distillation. This unique choice, both aesthetic and sensory, places ATTHIA in an approach that goes beyond the simple development of a spirit: it becomes an extension of the artistic project, a medium allowing one to taste, smell, and physically experience the essence of summer. Not everything could be contained. A vector was needed. A raw material capable of absorbing heat and restoring radiance:
- The choice of ingredients (a raw base, shaped to capture the light).
- The still (a slow, uncompromising distillation). - Time (a maceration that allows intensity to settle).
REFERENCES
Albert Camus, Summer, The Stranger – Summer as a state of absolute clarity and luminous absurdity.
Sonia Delaunay – Color as vibration, the search for a visual syntax that evokes summer light.
Paul Klee, Journey to Tunis – Mediterranean intensity as a source of artistic transfiguration.
Gaston Bachelard, Water and Dreams – Summer perceived through the elements, between solar fire and aquatic freshness.
PROJECT OVERVIEW
"L’Été Invincible" is a sensory and philosophical exploration of summer as a state of transcendence and subjectivation. More than a season, summer is a vital force, a moment of intensity where time stands still, where light and heat change our relationship with the world. This project questions how this state can be translated through visual, olfactory, and gustatory forms, combining painting, writing, photography, and distillation. This creation was in fact the first for the ATTHIA spirits brand.
At the heart of this project, spirits play a central role, not only as a sensory embodiment of summer, but also as a vehicle for transcendence and sharing. Exhilaration, far from being simply a physical state, is here considered a philosophical concept, a threshold where the perception of reality is blurred, where the body and mind open up to a different understanding of time and sensations. Through iconographic and gustatory research, L’Été Invincible offers a map of summer through its images, colors, aromas, and sensory experiences, questioning how memory, climate, and matter shape our relationship to pleasure and excess.
KEY FEATURES
01 Painting: work on color, light, and textures to express the sensations of midsummer.
02 Writing: reflective texts on the notion of summer as a philosophical and urban experience.
03 Distillation and Spirits: sensory materialization of summer through essences and aromas. 04 Photography: Capturing moments of burning and plenitude, scenes of intense heat and the dilution of forms in light.
PROJECT IN NUMBERS
7 text panels
12 acrylic paintings
2 spirits (liqueur and vodka)
SPECIFICITIES
One of the major focuses of L’Été Invincible is based on in-depth iconographic research, aiming to map representations of summer through art history, photography, and contemporary visual culture. This study is not limited to an aesthetic analysis, but examines how light, heat, and plant materials have influenced sensory and mythological narratives of summer. It interacts directly with distillation and blending work, carried out over 18 months of experimentation, aimed at transposing these visual and climatic sensations into a unique taste and olfactory experience.
This research led to the development of ATTHIA (www.atthia.ch), a spirits brand conceived as a true liquid translation of concepts.
L'Été, created from a blend of 11 carefully selected ingredients, is built around a solar and plant-based base, where aloe vera plays a central role, bringing an unusual texture and freshness to the field of distillation. This unique choice, both aesthetic and sensory, places ATTHIA in an approach that goes beyond the simple development of a spirit: it becomes an extension of the artistic project, a medium allowing one to taste, smell, and physically experience the essence of summer. Not everything could be contained. A vector was needed. A raw material capable of absorbing heat and restoring radiance:
- The choice of ingredients (a raw base, shaped to capture the light).
- The still (a slow, uncompromising distillation). - Time (a maceration that allows intensity to settle).
REFERENCES
Albert Camus, Summer, The Stranger – Summer as a state of absolute clarity and luminous absurdity.
Sonia Delaunay – Color as vibration, the search for a visual syntax that evokes summer light.
Paul Klee, Journey to Tunis – Mediterranean intensity as a source of artistic transfiguration.
Gaston Bachelard, Water and Dreams – Summer perceived through the elements, between solar fire and aquatic freshness.
TOWARDS THE SUMMER CITY
An exhibition that begins a work of iconography.
PROJECT OVERVIEW
"Towards the Summer City" explores how the city can integrate the intensity and transformation inherent in summer to rethink its structures and uses. Far from being a simple season, summer is a force of subjectivation, a state of overheating where bodies, rhythms, and spaces are redefined.
Urban megastructures, often designed for stability and efficiency, struggle to absorb this seasonal intensity, yet essential to urban dynamics. How can the city become a living infrastructure, where rigid architecture opens up to new forms of mobility, porosity, and collective appropriation?
Through painting, photography, writing, and installations, this project examines the mutations of a city searching for its summer, a territory where heat, light, and the flow of inhabitants influence the way spaces are experienced, inhabited, and reinvented. Towards the Summer City offers a reinterpretation of urban infrastructures as structures capable of hosting the rituals of subjectivation and the intensity specific to summer.
KEY FEATURES
01 Painting: exploration of tensions and megastructures.
02 Photography: capturing urban fragments that express the city through the lens of heat and suspended time.
03 Writing: reflective texts on the city and its situations of subjectivation.
PROJECT IN NUMBERS
16 acrylic paintings
23 photos (various formats)
4 large-format texts
REFRENCES
Henri Lefebvre – The Right to the City (1968): Lefebvre theorizes the city as a space of social production and constant transformation. His approach to urban rhythm and the sensory experiences of everyday life resonates strongly with the idea of a summer city, where urban temporality is transformed.
Michel de Certeau – The Invention of Everyday Life (1980): He explores how residents reclaim the city through their daily practices, which can be compared to the summer city and its intense coexistence.
Aby Warburg – The Atlas of Mnemosyne (1924-1929): His approach to constellations of images and memory can be an interesting methodology for mapping the summer city as a space of changing iconography.
Tim Ingold – Being Alive: Essays on Movement, Knowledge and Description (2011): Ingold proposes an approach where the city is perceived by bodies in motion, through walking and sensory experience—a central concept in a summer city.
PROJECT OVERVIEW
"Towards the Summer City" explores how the city can integrate the intensity and transformation inherent in summer to rethink its structures and uses. Far from being a simple season, summer is a force of subjectivation, a state of overheating where bodies, rhythms, and spaces are redefined.
Urban megastructures, often designed for stability and efficiency, struggle to absorb this seasonal intensity, yet essential to urban dynamics. How can the city become a living infrastructure, where rigid architecture opens up to new forms of mobility, porosity, and collective appropriation?
Through painting, photography, writing, and installations, this project examines the mutations of a city searching for its summer, a territory where heat, light, and the flow of inhabitants influence the way spaces are experienced, inhabited, and reinvented. Towards the Summer City offers a reinterpretation of urban infrastructures as structures capable of hosting the rituals of subjectivation and the intensity specific to summer.
KEY FEATURES
01 Painting: exploration of tensions and megastructures.
02 Photography: capturing urban fragments that express the city through the lens of heat and suspended time.
03 Writing: reflective texts on the city and its situations of subjectivation.
PROJECT IN NUMBERS
16 acrylic paintings
23 photos (various formats)
4 large-format texts
REFRENCES
Henri Lefebvre – The Right to the City (1968): Lefebvre theorizes the city as a space of social production and constant transformation. His approach to urban rhythm and the sensory experiences of everyday life resonates strongly with the idea of a summer city, where urban temporality is transformed.
Michel de Certeau – The Invention of Everyday Life (1980): He explores how residents reclaim the city through their daily practices, which can be compared to the summer city and its intense coexistence.
Aby Warburg – The Atlas of Mnemosyne (1924-1929): His approach to constellations of images and memory can be an interesting methodology for mapping the summer city as a space of changing iconography.
Tim Ingold – Being Alive: Essays on Movement, Knowledge and Description (2011): Ingold proposes an approach where the city is perceived by bodies in motion, through walking and sensory experience—a central concept in a summer city.
THE BEACH OF OTHERS
Those Who Work on City Beaches
PROJECT OVERVIEW
The Beach of Others explores the invisible contrasts that shape spaces of relaxation and consumption. While some lounge on the sand, others busily engage in a repetitive and degrading gesture, pursuing a daily task where fatigue and survival economy contrast with the carefree nature of the seaside. This series of 16 documentary photographs, taken on Ipanema Beach, Brazil, in 2023, reveals these shadowy actors, street vendors, invisible workers whose existence contrasts brutally with the surrounding idleness. Through a dual photographic and textual approach, the project questions this paradoxical proximity: to what extent do we tolerate these silent cohabitations where labor and abandonment overlap without ever truly meeting?
KEY FEATURES
1 Documentary Photography: A series of 16 images capturing these work scenes in an environment dedicated to rest.
2 Literary Writing: Texts accompanying the images amplify the narrative and delve into the individual realities of the photographed subjects.
PROJECT IN NUMBERS
15 Posters
1 Text
REFERENCES
Martin Parr – For his portrayal of irony and social contrasts through photography.
Social Documentary – A critical look at the invisible realities of public spaces and micro-economies of survival.
Research on the Informal Economy and the Global City – A reflection on the margins and invisible workers of large tourist metropolises.
PROJECT OVERVIEW
The Beach of Others explores the invisible contrasts that shape spaces of relaxation and consumption. While some lounge on the sand, others busily engage in a repetitive and degrading gesture, pursuing a daily task where fatigue and survival economy contrast with the carefree nature of the seaside. This series of 16 documentary photographs, taken on Ipanema Beach, Brazil, in 2023, reveals these shadowy actors, street vendors, invisible workers whose existence contrasts brutally with the surrounding idleness. Through a dual photographic and textual approach, the project questions this paradoxical proximity: to what extent do we tolerate these silent cohabitations where labor and abandonment overlap without ever truly meeting?
KEY FEATURES
1 Documentary Photography: A series of 16 images capturing these work scenes in an environment dedicated to rest.
2 Literary Writing: Texts accompanying the images amplify the narrative and delve into the individual realities of the photographed subjects.
PROJECT IN NUMBERS
15 Posters
1 Text
REFERENCES
Martin Parr – For his portrayal of irony and social contrasts through photography.
Social Documentary – A critical look at the invisible realities of public spaces and micro-economies of survival.
Research on the Informal Economy and the Global City – A reflection on the margins and invisible workers of large tourist metropolises.
THE SPACE OF THE FUTURE
An Installation That Caught Fire
PROJECT OVERVIEW
The Space of the Future took the form of a monumental installation composed of nine giant boxes, each embodying a key theme on the future of public space. A tenth empty box deliberately remained open, symbolizing the as yet unexplored issues, the unknown of the urban future, and the inherent incompleteness of any foresight. They were installed in the PAV (Parc d'Avenir) in Carouge in 2018.
These structures were not simple sculptural objects: they were designed as spaces for interaction, where visitors could physically experience the ideas collected during a preliminary participatory process. Each box, through its shape, texture, and content, invited an immersive reflection on the possible transformations of our cities.
KEY FEATURES
01 Monumental Installation: imposing structures materializing the themes addressed. 2 Interactive experience: a scenography engaging the visitor in an active dialogue.
3 Citizen participation: co-construction of themes and collective reflection on the future of public space.
PROJECT IN NUMBERS
10 monumental boxes
9 months of research
REFERENCES
Superstudio, The Continuous Monument – Architectural utopia and the materialization of urban thinking in a monumental object.
Hans Haacke, Documenta – The artistic representation of socio-political data in physical form.
CREDITS
Irene Gil Lopez
Valentin Dubois
PROJECT OVERVIEW
The Space of the Future took the form of a monumental installation composed of nine giant boxes, each embodying a key theme on the future of public space. A tenth empty box deliberately remained open, symbolizing the as yet unexplored issues, the unknown of the urban future, and the inherent incompleteness of any foresight. They were installed in the PAV (Parc d'Avenir) in Carouge in 2018.
These structures were not simple sculptural objects: they were designed as spaces for interaction, where visitors could physically experience the ideas collected during a preliminary participatory process. Each box, through its shape, texture, and content, invited an immersive reflection on the possible transformations of our cities.
KEY FEATURES
01 Monumental Installation: imposing structures materializing the themes addressed. 2 Interactive experience: a scenography engaging the visitor in an active dialogue.
3 Citizen participation: co-construction of themes and collective reflection on the future of public space.
PROJECT IN NUMBERS
10 monumental boxes
9 months of research
REFERENCES
Superstudio, The Continuous Monument – Architectural utopia and the materialization of urban thinking in a monumental object.
Hans Haacke, Documenta – The artistic representation of socio-political data in physical form.
CREDITS
Irene Gil Lopez
Valentin Dubois
COOK AND WATCH
Creating Social Situations in Public Spaces
PROJECT OVERVIEW
In 2016, in the heart of Geneva, Cook and Watch transformed the street into a space for conviviality and reflection on the boundary between the private and the public. By installing a living room, a kitchen, and a dining room in the street, the project questions our relationship to collective spaces and domestic rituals. Inspired by Richard Sennett and his reflection on the link between the inside and the outside (The Fall of Public Man), Cook and Watch asks the question: when private space opens onto the city, what happens to social dynamics and spontaneous interactions?
KEY FEATURES
1 Immersive installation: furniture, everyday objects, outdoor kitchen
2 Collective performance and interaction with the public
PROJECT IN NUMBERS
3 situations
62 slices of paella
REFERENCES
Richard Sennett, The Fall of Public Man – The transformation of public space and its role in social interaction.
Jane Jacobs - Death and life of Great American cities
Jan Gehl - New urban life
PROJECT OVERVIEW
In 2016, in the heart of Geneva, Cook and Watch transformed the street into a space for conviviality and reflection on the boundary between the private and the public. By installing a living room, a kitchen, and a dining room in the street, the project questions our relationship to collective spaces and domestic rituals. Inspired by Richard Sennett and his reflection on the link between the inside and the outside (The Fall of Public Man), Cook and Watch asks the question: when private space opens onto the city, what happens to social dynamics and spontaneous interactions?
KEY FEATURES
1 Immersive installation: furniture, everyday objects, outdoor kitchen
2 Collective performance and interaction with the public
PROJECT IN NUMBERS
3 situations
62 slices of paella
REFERENCES
Richard Sennett, The Fall of Public Man – The transformation of public space and its role in social interaction.
Jane Jacobs - Death and life of Great American cities
Jan Gehl - New urban life
ECHO
The world's first public space cooperative
PROJECT OVERVIEW
In 2019, ECHO took shape in Geneva as a unique architectural and social experiment, examining public space as an infrastructure of the collective. While the history of architecture has constantly sought to design forms that facilitate living together, ECHO reverses this perspective: what if the true architecture of the collective were the very emptiness of public space?
In a world where the Anthropocene has become a reality, the ecological and social transition can only be a collective journey, requiring an active reappropriation of our common spaces. ECHO thus proposes an imaginary cooperative, bringing together more than 500 collaborators around the production of public space—not as a simple place, but as a lived experience and a perspective for action.
KEY FEATURES
01 Ephemeral installation: materialization of a fictitious architecture of the collective. 02 Immersive experience: staging the symbolic construction of a shared space.
03 Performative approach: mobilizing the audience through spontaneous interactions.
PROJECT IN NUMBERS
500 (fictitious) cooperators
8 wheelbarrows
1 opening
REFERENCES
Guy Debord, The Society of the Spectacle – Critique of commercial urbanism and the need for a collective play space.
Georges Perec, Species of Space – Empty space as a place for writing and reappropriation.
Yona Friedman, Mobile Architecture – A non-fixed architecture, adapted to social dynamics.
PROJECT OVERVIEW
In 2019, ECHO took shape in Geneva as a unique architectural and social experiment, examining public space as an infrastructure of the collective. While the history of architecture has constantly sought to design forms that facilitate living together, ECHO reverses this perspective: what if the true architecture of the collective were the very emptiness of public space?
In a world where the Anthropocene has become a reality, the ecological and social transition can only be a collective journey, requiring an active reappropriation of our common spaces. ECHO thus proposes an imaginary cooperative, bringing together more than 500 collaborators around the production of public space—not as a simple place, but as a lived experience and a perspective for action.
KEY FEATURES
01 Ephemeral installation: materialization of a fictitious architecture of the collective. 02 Immersive experience: staging the symbolic construction of a shared space.
03 Performative approach: mobilizing the audience through spontaneous interactions.
PROJECT IN NUMBERS
500 (fictitious) cooperators
8 wheelbarrows
1 opening
REFERENCES
Guy Debord, The Society of the Spectacle – Critique of commercial urbanism and the need for a collective play space.
Georges Perec, Species of Space – Empty space as a place for writing and reappropriation.
Yona Friedman, Mobile Architecture – A non-fixed architecture, adapted to social dynamics.
SUEDAGE - REMAKE YOUR CITY
Remixing the Public Space of a City Center
PROJECT OVERVIEW
In 2014, as part of the FETSAC Architecture Festival in A Coruña (Spain), the installation "SUEDAGE - Remake Your City" took shape as a collective performance exploring the evolution of the urban landscape and the place of imagination in the city. Inspired by the concept of "suedage" popularized by Michel Gondry in Be Kind Rewind, this project offers an urban reinterpretation, reinventing the city center through an alternative and playful staging.
While the commercial expansion led by Amancio Ortega, founder of the Inditex group and a native of A Coruña, is pushing the city toward standardizing its outlying retail spaces, this intervention aims to reinvigorate narrative and participatory potential in the declining urban core.
KEY FEATURES
1 Urban Performance and Collective Action
2 Participatory Staging and Narrative Reappropriation
3 Documentary Video and Immersive Recording
PROJECT IN NUMBERS
2 Workshops
1 Collective Performance
38 Students
REFERENCES
Michel Gondry, Be Kind Rewind – “Sueding” as a Method of Narrative Reappropriation.
Gordon Matta-Clark – Urban Intervention as a Critical Act.
Theaster Gates – The Transformation of Abandoned Spaces through Artistic and Community Processes.
PROJECT OVERVIEW
In 2014, as part of the FETSAC Architecture Festival in A Coruña (Spain), the installation "SUEDAGE - Remake Your City" took shape as a collective performance exploring the evolution of the urban landscape and the place of imagination in the city. Inspired by the concept of "suedage" popularized by Michel Gondry in Be Kind Rewind, this project offers an urban reinterpretation, reinventing the city center through an alternative and playful staging.
While the commercial expansion led by Amancio Ortega, founder of the Inditex group and a native of A Coruña, is pushing the city toward standardizing its outlying retail spaces, this intervention aims to reinvigorate narrative and participatory potential in the declining urban core.
KEY FEATURES
1 Urban Performance and Collective Action
2 Participatory Staging and Narrative Reappropriation
3 Documentary Video and Immersive Recording
PROJECT IN NUMBERS
2 Workshops
1 Collective Performance
38 Students
REFERENCES
Michel Gondry, Be Kind Rewind – “Sueding” as a Method of Narrative Reappropriation.
Gordon Matta-Clark – Urban Intervention as a Critical Act.
Theaster Gates – The Transformation of Abandoned Spaces through Artistic and Community Processes.
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