In collaboration with Théo De Gueltzl
 The hand of the man at work Drawing is the nervure of the ‘senses’, it is essential for a visual representation of man’s hand at work.Drawing in architecture is as crucial as the narrative in a novel. Without any perspective and only the drawing of architectural façades, we attempted to create a feeling of infinite construction, symbolizing the moving city. Its heights appear as independent of the structure, as continuously evolving. Superposed, these architectures can be seen as the reminiscences of a time traveller’s mind being engraved in matter, the drawing being the substance of this subconscient memory. The double man This device has two aesthetics ways. 
They play with each other, or one against 
the other. Dual or fusion in a time blocked between two fires: its history, its memory, and the constrain to protect it self with carefreeness towards the future. The tool of the man The man who creates has the imperative need of a tool. The brush of the painter, the chisel of the sculpture, the language of the poet, the camera of the photographer… And when the final creation arises, the tool is part of the effect. 
This creation process already has a sensory memory, one that originates from human labour: the movements of the paint brush, the mixing of textures, a tool scratching the material and embracing the matter, the paper meeting with the first word of what is to be a book. 

All of this is the object’s history. Perhaps the spectator perceives it; he feels it surely: but in the end, the object retains an element of mystery.
The machine can only be used by two people, working together to record its movement. As the work is a collaborative project, the exchange between us two was a central part 
of the installation. When we activate the machine, communication is replaced by mechanism. In the end it’s creation, the drawing records 
the feeling of exasperation.