Fade to grey

No picture n°4, from which the pages are taken, is a glossary of parapsychological and mantic practices compiled by the artist. Parapsychology studies unexplained phenomena, while mantics encompasses divinatory arts based on tools and processes.

The artist has chosen to describe rituals without cultural or symbolic roots, focusing solely on the factual aspect of the objects and how they are handled. Meaning is sacrificed in favour of visual effect, transforming the text into a series of performances or recipes to be carried out.

The writing, both sober and precise, sets out the principle of the divination in question, its instruments and its method, while revealing a poetic approach to mystery and interpretation. The encyclopaedic arrangement of terms gives it an incantatory dimension, as if reading itself could become a ritual of exploration of signs and omens. The oscillation between seriousness and absurdity gives the whole a playful and reflective dimension and offers a unique perspective on beliefs and their relationship to the invisible.

Presented in the form of a printout of a web page, Sans titre (TCI) subverts the mundane format of an esoteric forum to slip in an intimate and disturbing piece of writing. In a digital space usually devoted to fringe beliefs and anonymous stories, the artist inserts a singular voice, oscillating between a sincere attempt to communicate with the afterlife and an acute awareness of the absurd. The text displayed is part of an autofictional writing process: in the manner of a diary or confession, the artist describes an attempt at instrumental transcommunication (ITC) — a practice that consists of capturing the voices of the deceased using analogue recordings. The ritual, carried out with hesitation, becomes a gesture that is both derisory and deeply human, a way of measuring the gap between the desire to believe and the impossibility of fully achieving it. Through the use of a vernacular digital medium—the forum—and a narrative style that feigns the spontaneity of testimony, the artist questions the boundaries between fiction and truth, belief and scepticism, obsolete technology and contemporary spirituality.

Sans titre (écriture automatique) Untitled (automatic writing) explores a discursive space where belief, emotion and intimate narrative intertwine. Drawing on a forum dedicated to the paranormal, the artist inserts a personal text into a codified digital framework. The text describes a ritual and shifts from the spiritual to the confessional.

The forum setting becomes a paradoxical space of vulnerability where anonymous voices amplify or contain the artist’s gesture. This gesture blurs the boundaries of reality. For the artist, the paranormal does not function as exotic entertainment, but as a discursive space capable of circumventing the filters of normative language.

Far from being spectacular, the paranormal here becomes a place where the mundane circulates, a space of promise rather than proof. It allows the unspeakable to be uttered. The work thus plays with the thresholds between the real and the imaginary and becomes a fragile scene between the intimate and the collective, between belief and dissent.

Sans titre (filtre d’amour) presents an extract from a teenage forum in which the artist inserts a personal text among other accounts of doubts, rituals, or attempts to control emotions. Bay leaves, candles, spells: all the signs of ritual are there. But the intensity of the gesture does not lie in its supposed effectiveness, but rather in its form. Here, writing becomes an act: through its staccato rhythm, its short breath, its simple images, it produces a situation.

The artist adopts the codes of a gendered teenage language, often feminine, without irony or forced displacement. This is not a commentary: it is a sincere attempt to summon another. In this sense, the text does not illustrate a ritual: it accomplishes it. By investing in this digital space—a place of emotional expression, minor beliefs, and shared intimacy—the artist inscribes a subjectivity that, although minority, aligns with common vulnerabilities. The work explores the power of writing as invocation, and forums as territories of address, fiction, and desire.