Masked series has its origins in the Covid crisis. First unnecessary before finally being imposed, the generalized wearing of masks radically changes our perception of others, hides our facial expressions, modifies the image that we send back of ourselves.
But wouldn't this fabric mask simply reveal our social behavior? How do our micro-expressions, our smiles, not usually mask our true inner selves? Don't they act like so many masks we wear to better seduce, communicate, or preserve ourselves from others?

In this perspective, Prósôpon [Πρόσωпον : mask, face, person ] refers us to the world of antique theater, where the use of codified masks allowed actors to conceal their features to better reflect the image of the characters they embodied.
In this work, which oscillates between live self-molding performance and photographic self-portrait, I seek to highlight the staging of our physical image within our various social relations. This game of appearances requires here a game of reflections and transparencies, of dazzling light, by the means of a device usually intended to visualize the radiographic clichés - in other words, to visualize the interiority of the being and what is hidden beyond the surface...