La Grande Prêtresse ne plonge jamais son pied dans l'Eau du lac.
The High Priestess never dips her foot into the lake.
The High Priestess is card number two of the tarot.
She began as the Popess.
The Church never gave a woman that title.
This feminine archetype has no proven origin.
Yet, she has travelled between both worlds and keeps to the shore.
Whoever remembers the water has no need to enter it.
Yet some origins stay partly out of reach.
The artist has one, and he seeks what she remembers.
In this collection, the lake is the primordial water, the memory of what came before birth.
One threshold opens the collection and another closes it.
Each is crossed alone, like the main doors of life.
Every work is a way back to what birth erased.
Collection Statement
What is shown in full is taken for all there is.
A complete portrait would claim that the sacred has an appearance.
So the High Priestess rarely appears in person or in full.
Her presence is spread across the works, and the viewer gathers it.
It is read in her attributes, her forces and her bonds.
It also lies in what is withheld, which weighs as much as what is shown.
The figures are computed in three dimensions, then fixed in print or set to move slowly on screens.
Each one is a sign of her, and a sign asks to be read.
The sacred begins where the image ends.
Artistic Intention
The artist looks for the principle behind each form.
Raised between animist and scientific views, he brings each tradition face to face with a science.
He builds each figure in three dimensions, with rule and calculation.
He gives the figures the indigo of the primordial water.
A form is how a principle looks from outside.
The viewer retraces the path, from form to principle.
Each figure is the High Priestess seen from outside.
Le Seuil, 2026
The Threshold
250 × 140 × 50 cm / 98.4 × 55.1 × 19.7 in
Edition of 2 + 1 AP
3D-printed PETG assembled in sections over an internal aluminium armature, gold-coloured spray paint aged by hand with a brush
Includes embedded NFC chip linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-13
Price on request
Some doors can only be crossed alone. The artist sets a canon beside a proof.
In the first century BCE, Vitruvius made the body the measure of the temple.
He fitted it to a circle and a square.
In 1882, Ferdinand von Lindemann proved that a circle cannot be measured exactly with ruler and compass.
Here, the arch is inspired by the circle and the square of Vitruvius.
According to the artist, the circle holds what has no end, the square what can stand.
Whoever passes beneath stands where the two meet.
The arch admits one body at a time. The first crossing is an initiation, and the visitor performs it alone.
Le Seuil is French for threshold, beyond which a state begins.
Spirit lodges in matter and cannot be measured by it.
Merkabah, 2026
Merkabah is the chariot vision through which Jewish mystics claimed to ascend through heavenly halls.
They sought what they could not otherwise approach. In some accounts, the body stays while the soul travels.
Modern esoteric writers later made the chariot a vehicle of light that carries the spirit beyond the body.
Virtual reality now offers the closest version of that journey: the body stays still, and the sense of being goes elsewhere.
This space follows the same method: proximity as direct experience rather than observation.
Digital space accessed through a browser,
no application required.
Scan the code with a smartphone, tablet or headset, and the space opens at once.
Several visitors can enter at the same time, each in a private session.
Currently in development.
Reference GP-000-14
Primum Movens Immotum, 2026
738 × 300 cm / 290.6 × 118.1 in, each
Edition of 3 + 1 AP
Digital animation with slow morphing sequences, displayed on two curved immersive LED screens
Includes NFC tag linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-15
Price on request
Every cause of motion has itself been moved. The artist pairs a creation hymn with a law of motion.
In this work, two doors frame every life: one to enter it, one to leave it.
The first door is a mise en abyme of the arch that opened the visit. It is an entrance within the entrance, deeper and more intimate.
Between the two doors, each person makes one move that will never be made again.
The title names the one cause outside both doors: a breath that stirs no air.
Primum Movens Immotum is Latin for first mover, unmoved.
In the fourth century BCE, Aristotle argued that change requires a first cause that is never moved.
In 1687, Isaac Newton stated that every action meets an equal and opposite reaction.
The first cause receives nothing from what it moves.
One work here is made of language itself.
The poem can take two forms: a wall inscription or a monolith.
Each is among the oldest ways humans have written. Both are built around one gesture: elevation.
On the wall, the visitor must lift their gaze to read. As a monolith, what looks solid hangs.
Either way, it is a small elevation, asked before the exhibition pushes what the visitor holds certain toward a larger one.
TETRAGRAMMATON
« Merkabah : Voyage astral ou la Vision d'une naufragée stellaire »
Échappée des cratères de Chronos,
Évadée de l'illusion matricielle,
Se dérobant à sa destinée,
L’entité s'oublia en l'Arbre des Séphiroth,
Dans le Monde transcendant le miroir de nacre,
Où ni Espace, ni Temps ne fait loi.
Car, au coeur des jardins de Dieu,
Seule l’expression de l’Esprit,
Dans le présent, est.
Élysée Pontal
70 × 100 cm / 27.6 × 39.4 in
Direct-to-wall UV pigment print on a wall of the host venue
Centre of the poem set just above eye level
Dimensions variable
Executed on site for each exhibition
Reference GP-000-16
150 × 200 × 20 cm / 59.1 × 78.7 × 7.9 in
3D-printed polymer monolith, finished anthracite
The poem is engraved and painted with gold-coloured spray paint, aged by hand with a brush
Suspended above the ground by stainless-steel wire ropes from the venue's structure, each backed by a secondary safety cable
Approx. 40 kg / 88 lb, internal steel armature included
Reference GP-000-17
TETRAGRAMMATON, 2026
A stellar castaway escapes time and
The illusion of the world she was born into.
Slipping away from her destiny,
She loses herself in the Tree of the Sephiroth,
In a World beyond the mirror of mother-of-pearl,
Where neither space nor time makes law. I
In the heart of the gardens of God,
Only the expression of Spirit, i
In the present, is.
-
Here, the artist weighs an old practice against a modern theory.
Tetragrammaton is Greek for four letters.
By the first century BCE, Hebrew letters were also numbers.
The four letters of the divine name, YHWH.
The modern theory separates them.
In 1948, Claude Shannon measured messages in bits and set their meaning aside.
Yet in this work, word and number hold the same poem: three stanzas of three lines.
The artist wrote the poem in French, his language.
The last word of the poem is "est", which means "is", the present of the verb to be.
The three letters of "est" hold, for the artist, a trinity: body, consciousness and spirit.
What counts cannot be translated.
Adding and multiplying the numerical values of this poem opens still other doors.
La Papesse, 2026
The High Priestess
122 × 162 cm / 48.0 × 63.8 in
Edition of 3 + 1 AP
37 × 49 cm / 14.6 × 19.3 in
Edition of 9 + 2 AP
Digital chromogenic print, laminated with matte film, mounted on aluminium composite panel
Includes embedded NFC chip linked to a digital certificate of authenticity
The certificate records the BAT, the colour reference approved and signed by the artist before printing
Signed and numbered
Reference GP-000-18
Price on request
She began as the Popess.
The Church never gave a woman that title.
In 1781, Antoine Court de Gébelin traced the tarot to Egypt without evidence. Later, Egyptologists found none.
In 1909, the Rider–Waite deck renamed her the High Priestess.
Through every name, the archetype stayed: a seated woman with a book.
In 1935, Hideki Yukawa explained what holds an atomic nucleus together despite the electric repulsion of its protons.
Physics now counts four forces in all.
In this work, four forces guard the High Priestess, each in its own direction and at its own range.
La Papesse is her older French name in the tarot.
The deepest protection acts out of sight.
Prudentia, 2026
120 × 150 cm / 47.2 × 59.1 in
Edition of 3 + 1 AP
40 × 50 cm / 15.7 × 19.7 in
Edition of 9 + 2 AP
Digital chromogenic print, laminated with matte film, mounted on aluminium composite panel
Includes embedded NFC chip linked to a digital certificate of authenticity
The certificate records the BAT, the colour reference approved and signed by the artist before printing
Signed and numbered
Reference GP-000-19
Price on request
Prudence acts twice, first in the mind, then in the world.
Justice carries a sword. Prudence holds a mirror and sees consequences before they come.
In 1511, Raphael gave her two faces: one looks back, one looks ahead.
The brain rehearses too. In 2007, Adam Johnson and David Redish recorded an animal at a fork in a maze.
While the animal stood still, its brain followed one path, then the other.
Strength that has rehearsed every move rarely needs to strike.
Axis Mundi, 2026
738 × 300 cm / 290.6 × 118.1 in
Edition of 3 + 1 AP
Digital animation with slow morphing sequences, displayed on two curved immersive LED screens
1,968 frames, one advancing at each new moon and each full moon
Complete cycle of 79.6 years, shown here in a compressed preview of 1 min 22 s (accelerated 30.6 million times)
For an exhibition, the cycle may be compressed to the length of the show
Includes NFC tag linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-20
Price on request
What seems fixed is only slow.
In the second century BCE, Hipparchus found that the pole of the sky moves. A full circle takes about 26,000 years.
So even the point we measure the sky from is a traveller.
Aristotle placed the aether, a fifth element, above the other four. The artist places it at the centre, as the axis.
Axis Mundi is Latin for axis of the world. What turns around the axis, if anything, is for the viewer to decide.
The axis moves. The idea of an axis stays.
Stase, 2026
Stasis
738 × 300 cm / 290.6 × 118.1 in
Edition of 3 + 1 AP
Digital animation with slow morphing sequences, displayed on two curved immersive LED screens
1,464 frames, one advancing at each new moon and each full moon
Complete cycle of 59.2 years, shown here in a compressed preview of 2 h 02 min (accelerated 255,144 times)
For an exhibition, the cycle may be compressed to the length of the show
Includes NFC tag linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-21
Price on request
The fastest traveller has no clock.
Physics leaves the time of a photon undefined. The work imagines it.
The viewer takes the point of view of a photon. No time passes between departure and arrival, however many years pass for everyone else.
Stase comes from the Greek stasis, standing still.
The fastest traveller is the most motionless.
Axis Mundorum, 2026
738 × 300 cm / 290.6 × 118.1 in
Edition of 3 + 1 AP
Digital animation with slow morphing sequences, displayed on a curved immersive LED screen
1,056 frames, one advancing at each new moon and each full moon
Complete cycle of 42.7 years, shown here in a compressed preview of 22 s (accelerated 61.2 million times)
For an exhibition, the cycle may be compressed to the length of the show
Includes NFC tag linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-22
Price on request
Many civilisations claim the centre of the world for their own land.
Yet the centres look alike.
The Saxons raised the Irminsul, their pillar of the world.
The Maya, who never met the Saxons, honoured the ceiba, the tree joining underworld, earth and sky.
The artist reads the repeated centre as a trace in human beings, deeper than culture.
Axis Mundorumis Latin for axis of the worlds. The work asks why humans imagine the same centre, and what this says about them.
A centre found everywhere is a need before it is a place.
Initiatio Perennis, 2026
200 × 150 cm / 78.7 × 59.1 in
Edition of 9 + 2 AP
3D-printed PETG assembled in sections over an internal aluminium armature, gold-coloured spray paint aged by hand with a brush
Includes embedded NFC chip linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-23
Price on request
The last step of an initiation opens the next.
Each one opens onto the next, however far along someone believes they are.
Initiatio Perennis is Latin for an initiation that never ends.
No list of initiations is complete.
Agape Éternelle, 2026
Eternal Agape
738 × 300 cm / 290.6 × 118.1 in
Edition of 3 + 1 AP
Digital animation with slow morphing sequences, displayed on a curved immersive LED screen
91 frames, one advancing at each new moon and each full moon
Complete cycle of 3.7 years, shown here in a compressed preview of 5 min 04 s (accelerated 382,000 times)
For an exhibition, the cycle may be compressed to the length of the show
Includes NFC tag linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-24
Price on request
A true gift takes nothing from the giver.
Agape is the Greek word for a love that asks nothing back.
Early Christians gave that name to a meal shared in common.
A love that keeps no account never runs out, so it is eternal.
Where many give freely, each one grows.
Quiescence, 2026
738 × 300 cm / 290.6 × 118.1 in
Edition of 3 + 1 AP
Digital animation with slow morphing sequences, displayed on a curved immersive LED screen
356 frames, one advancing at each new moon and each full moon
Complete cycle of 14.4 years, shown here in a compressed preview of 47 min 24 s (accelerated 159,465 times)
For an exhibition, the cycle may be compressed to the length of the show
Includes NFC tag linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-25
Price on request
Stillness often hides the hardest labour.
In 1880, Charles Darwin traced growing plants on glass. They looked still. Each tip circled continually around its own centre.
The hesychasts, monks of Byzantium, made stillness a discipline.
Here, watching is the task.
Watched longer, stillness shows an order, and the order belongs to the mind that contemplates.
Quiescence comes from the Latin quiescere, to rest.
To watch is already to order.
De-Mon, 2026
World, Reversed into Demon
240 × 90 cm / 94.5 × 35.4 in
Edition of 3 + 1 AP
72 × 27 cm / 28.3 × 10.6 in
Edition of 9 + 2 AP
Digital chromogenic print, laminated with matte film, mounted on aluminium composite panel
Includes embedded NFC chip linked to a digital certificate of authenticity
The certificate records the BAT, the colour reference approved and signed by the artist before printing
Signed and numbered
Reference GP-000-26
Price on request
Water splits light in two.
In 1823, Augustin Fresnel showed that part returns, part passes. The angle of the gaze sets each share.
The language of birds, described by Fulcanelli in 1926, hides a second meaning in the sound of a word.
Here, a word behaves like water.
Monde, French for world, becomes dé-mon when its two parts, mon and de, swap places. Swap them again and monde returns.
Dé-Mon echoes daimōn, the Greek name for an intermediary between humans and gods.
The world is one angle from its demon.
Magnum Opus, 2026
738 × 300 cm / 290.6 × 118.1 in
Edition of 3 + 1 AP
Digital animation with slow morphing sequences, displayed on a curved immersive LED screen
2,525 frames, one advancing every 24 hours at midnight UTC
Complete cycle of 6.9 years (2,525 days), shown here in a compressed preview of 1 min 41 s (accelerated 2.16 million times)
For an exhibition, the cycle may be compressed to the length of the show
Includes NFC tag linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-27
Price on request
Some labours uncover what they seem to build.
A prism adds no colour to light.
In 1672, Isaac Newton reported that white light holds every colour, and the prism only separates them.
From the first century CE, alchemists in Egypt described their art in four stages by colour: black, white, yellow, red. Gold was the aim.
Both reveal by separating.
The artist applies the same method to matter from his own body: he cut his dreadlocks after thirteen years.
Shed matter holds as much of the story as what remains.
Magnum Opus is Latin for Great Work: the alchemy of the self.
The Great Work begins with a subtraction.
Jamais je ne Vous confondrais avec une mortelle. 2026
Never would I mistake You for a mortal.
120 × 150 cm / 47.2 × 59.1 in
Edition of 3 + 1 AP
40 × 50 cm / 15.7 × 19.7 in
Edition of 9 + 2 AP
Digital chromogenic print, laminated with matte film, mounted on aluminium composite panel
Includes embedded NFC chip linked to a digital certificate of authenticity
The certificate records the BAT, the colour reference approved and signed by the artist before printing
Signed and numbered
Reference GP-000-28
Price on request
Presence is measured by the behaviour of the objects around it.
In 1915, Albert Einstein completed general relativity.
A mass bends space and time, and a larger mass bends them more.
In this work, Vertical lines stand for time, horizontal lines for space: the cage of reality.
Here, presence acts as mass. The High Priestess distorts this cage.
Intimité au Sacré, 2026
Intimacy toward the Sacred
120 × 150 cm / 47.2 × 59.1 in
Edition of 3 + 1 AP
40 × 50 cm / 15.7 × 19.7 in
Edition of 9 + 2 AP
Digital chromogenic print, laminated with matte film, mounted on aluminium composite panel
Includes embedded NFC chip linked to a digital certificate of authenticity
The certificate records the BAT, the colour reference approved and signed by the artist before printing
Signed and numbered
Reference GP-000-29
Price on request
Knowing a flame costs the one who knows.
In The Conference of the Birds, Attar sends three moths to a candle.
The first watches from afar.
The second hovers in the glow.
The third enters the flame.
Only the third knows.
The artist holds the position of the second. Close enough to study, far enough to report.
Complete knowledge leaves no witness.
Mère Supérieure, 2026
Mother Superior
172 × 122 cm / 67.7 × 48.0 in
Edition of 3 + 1 AP
55 × 39 cm / 21.7 × 15.4 in
Edition of 9 + 2 AP
Digital chromogenic print, laminated with matte film, mounted on aluminium composite panel
Includes embedded NFC chip linked to a digital certificate of authenticity
The certificate records the BAT, the colour reference approved and signed by the artist before printing
Signed and numbered
Reference GP-000-30
Price on request
Hiding a face reveals a presence.
In Exodus, God tells Moses that no one can see his face and live.
Moses is shown the back, once God has passed.
The disc of the Sun is over a million times brighter than its corona.
In 1931, the astronomer Bernard Lyot hid the disc and photographed the corona without an eclipse.
In the life of the artist, a line of descent was interrupted.
The absence became the origin of his research.
The sacred is read at its periphery.
Vinculum, 2026
120 × 150 cm / 47.2 × 59.1 in
Edition of 3 + 1 AP
40 × 50 cm / 15.7 × 19.7 in
Edition of 9 + 2 AP
Digital chromogenic print, laminated with matte film, mounted on aluminium composite panel
Includes embedded NFC chip linked to a digital certificate of authenticity
The certificate records the BAT, the colour reference approved and signed by the artist before printing
Signed and numbered
Reference GP-000-31
Price on request
Some structures appear only from a second vantage.
The artist received both an animist and a scientific education: two vantages on one world.
Here, an alignment looks like a coincidence.
A second vantage shows it to be a bond. The bond reveals an attribute of the High Priestess.
Vinculum is Latin for bond. In mathematics, a vinculum is the bar drawn over several terms to group them.
Depth is the bond between two views.
Hystérésis, 2026
250 × 40 × 40 cm / 98.4 × 15.7 × 15.7 in, each
Edition of 2 + 1 AP
3D-printed PETG assembled in sections over an internal aluminium armature, gold-coloured spray paint aged by hand with a brush
Includes embedded NFC chip linked to a digital certificate of authenticity
Signed and numbered
Reference GP-000-32
Price on request
Whoever leaves a door still carries it.
Once the magnetic field around iron is removed, part of its magnetism stays.
In 1881, the physicist James Alfred Ewing named this behaviour hysteresis.
In the Homeric Hymn to Demeter, Persephone leaves Hades.
A single pomegranate seed obliges her to go back.
The artist was born in Abidjan and arrived in France in 1998. He carries the first place still.
Here, the exit is a threshold crossed alone, like birth, death, dream and ecstasy.
What such thresholds leave stays in the one who crossed, beyond telling.
Hystérésis comes from the Greek for lagging behind.
The crossing outlasts the door.