work
LA BESTIA
| category | Sculpture |
| subject | Political / Social |
| tags | |
| base | 78 cm |
| height | 49 cm |
| depth | 54 cm |
| year | 2025 |
The human being has built his power on the ability to kill his fellow man.
In an era where everything must be filtered, moderated, made acceptable according to the codes of the
Politically correct, I consciously choose to be on the opposite side.
My job is politically incorrect because it doesn't sweeten the message, it doesn't camouflage the conflict,
He's not looking for consolation.
Talk about society as it is: raw, unequal, predatory.
In a world where anatomy has become the language of control, I wonder: who is really the
Beast?
The man talks about civilisation, but he has never stopped beheading his fellow men on the battlefields, in the
Asylums, in the courtrooms.
Man created the anatomy to measure and dominate, but every part of the body has become a weapon
Or a target.
Political correctness tries to defuse this horror. I'll show it off.
The news reminds us of it every day.
In Gaza, entire neighbourhoods have been razed to the ground, bodies of civilians and children become political figures,
Objects of negotiation, or numbers to forget.
In the heart of Europe, in Ukraine, human flesh is again a matter of modelling in the mud.
In these conflicts, anatomy returns to being a battlefield, flesh returns to being punishment.
Anthropologist Margaret Mead considered a broken and then healed femur as the first sign of
Civilisation that differentiated man from animal, since a beast in nature with a broken bone is
Destined to die.
But today, while humanity talks about care, it continues to produce exclusion, violence, abandonment. Is it really civilisation that we build on the bones of others?
My project was born from this fracture.
I reconstruct an "iconic" human bone, perfect and recognisable, but made with animal bones.
A human body that is not human, but that takes on a familiar form.
A structure that replicates power, but unmasks its substance.
The femur, bone of the path, of the upright station, of civilisation, is made with what we slaughter,
We ignore, we use as scrap.
The material betrays the shape.
The appearance is reassuring, but the substance is disturbing.
Is human what seems human? Or is it animal that really supports us?
It is in this ambiguity that the sense of the work is grafted: an uncomfortable reflection, a
Necessary provocation, a sculptural gesture against the reassuring rhetoric of the form.
The installation consists of a femur placed inside an animal cage, the work is
Suspended, straight by steel wires.
Hanging, always in the balance like our civilisation: always with the risk of collapsing.
Because if the foundation is violence, collapse is only a matter of time.
Who is really the beast to be kept in a cage between man and animal?
THE BEAST is the name I chose for this job.
Because he doesn't apologise.
Because he doesn't seek consent.
Because he's not afraid to call the man a beast
Materials: iron, bones
In an era where everything must be filtered, moderated, made acceptable according to the codes of the
Politically correct, I consciously choose to be on the opposite side.
My job is politically incorrect because it doesn't sweeten the message, it doesn't camouflage the conflict,
He's not looking for consolation.
Talk about society as it is: raw, unequal, predatory.
In a world where anatomy has become the language of control, I wonder: who is really the
Beast?
The man talks about civilisation, but he has never stopped beheading his fellow men on the battlefields, in the
Asylums, in the courtrooms.
Man created the anatomy to measure and dominate, but every part of the body has become a weapon
Or a target.
Political correctness tries to defuse this horror. I'll show it off.
The news reminds us of it every day.
In Gaza, entire neighbourhoods have been razed to the ground, bodies of civilians and children become political figures,
Objects of negotiation, or numbers to forget.
In the heart of Europe, in Ukraine, human flesh is again a matter of modelling in the mud.
In these conflicts, anatomy returns to being a battlefield, flesh returns to being punishment.
Anthropologist Margaret Mead considered a broken and then healed femur as the first sign of
Civilisation that differentiated man from animal, since a beast in nature with a broken bone is
Destined to die.
But today, while humanity talks about care, it continues to produce exclusion, violence, abandonment. Is it really civilisation that we build on the bones of others?
My project was born from this fracture.
I reconstruct an "iconic" human bone, perfect and recognisable, but made with animal bones.
A human body that is not human, but that takes on a familiar form.
A structure that replicates power, but unmasks its substance.
The femur, bone of the path, of the upright station, of civilisation, is made with what we slaughter,
We ignore, we use as scrap.
The material betrays the shape.
The appearance is reassuring, but the substance is disturbing.
Is human what seems human? Or is it animal that really supports us?
It is in this ambiguity that the sense of the work is grafted: an uncomfortable reflection, a
Necessary provocation, a sculptural gesture against the reassuring rhetoric of the form.
The installation consists of a femur placed inside an animal cage, the work is
Suspended, straight by steel wires.
Hanging, always in the balance like our civilisation: always with the risk of collapsing.
Because if the foundation is violence, collapse is only a matter of time.
Who is really the beast to be kept in a cage between man and animal?
THE BEAST is the name I chose for this job.
Because he doesn't apologise.
Because he doesn't seek consent.
Because he's not afraid to call the man a beast
Materials: iron, bones
