After a complete reconstitution of the bark via computer processing, the image is converted in order to be industrially knitted. A transition from pixels to stitches takes place and thanks to a search for combinations of yarns the image is gradually materialised — until it obtains a materiality that replicates that of the initial tree. The image then acquires a texture, a relief. It becomes a material, a manipulable and a tactile support that has unique characteristics.

The textile pieces we produce are thought of as material archives, replicas to be touch that immortalise vegetable skins destined to fall to pieces over time. Following the pattern of Thai trousers, we play with a double functionality/possibility, that of being able to put them on or to exhibit them. By inviting manipulation, these supports are thus part of a relationship to the body that is as personal/intimate as it is collective/public.

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Part of this work with Charlène Wang was presented, exhibited and performed at Le Carton — a self-managed space in Montreuil — as part of the e·materiel exhibition that marked the closing of the place. On this occasion, other textile pieces, accompanied by photographs or installations created on site, were brought together in order to stage a space situated in an in-between —  in suspense — as if abandoned. Some of our textile pieces were activated by our presence and manipulation on Sunday 22 May 2021, in parallel with 4 readings of texts extracted from books that feed our reflections. Le champignon de la fin du monde: Sur la possibilité de vie dans les ruines du capitalisme (2015) from Anna Tsing ; Métamorphoses (2020) from Emmanuele Coccia ; Vivre avec le trouble (2020) from Donna Haraway ; Mycélium (2021) from Youri Johnson.

Some pictures of the exhibition below: