Chrysalids

The bas-relief of a hand on the soft pink surface of a piece of marble, the fossil of a digital avatar sculpted by Darta Sidere, opens this series of chrysalide works. Metamorphosis is induced in these creations by a simulation of tactility that echoes the techniques and materials used. Nelly Zagury's magic lamp is modelled in clay from a breast. Rubbing its surface is both sensual and emancipatory. Quentin Fromont's inks flow over struggling phalanges, or love an invisible body. Skin and crimson textures form an intimate shoreline with an uncertain outcome. Another glowing dark fantasy landscape - that of Alison Flora, whose Gothic vaults open onto a precipice and mountains painted with the artist's own blood. Léna Gayaud's enamelled stoneware wildflower fits into this medieval register. A rural gargoyle, it rubs shoulders with Jérémie Cosimi's painting in which two hands enclose an apparent termite mound as a face, in a ritual of concealment. The human figure continues its transfiguration in James Barnor's photograph of a Ghanaian headdress - ten hair tornadoes rising from a starry stripe. Alban Turquois' recycling of tin takes the form of a seat on which the metal's past lives can be deciphered. The fragile moult of these tactile incursions on matter concludes with the collapse of Roberto Avila Pezet's sand castle.