PLAYGROUND is thus conceived as a hybrid space:

a site for creation, play, and reflection, where childhood is neither idealized nor silenced, but considered as a complex, sensitive, and deeply political territory.

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​​In this section I bring together the projects I develop with and for children.

They take the form of installations, game protocols, participatory devices, or collective situations, conceived as spaces for dialogue, listening, and shifts in perspective.

 

While rooted in a process of cultural mediation, these projects primarily seek to open conversations around complex and often difficult questions: power dynamics between adults and children, visible and invisible forms of violence, identity, bodily transformation, fragmentation, fear, as well as the child’s capacity for play, invention, and resistance.

 

Play occupies a central role in this work.

Not as mere entertainment, but as a language in its own right — one that can express what cannot always be articulated otherwise. The protocols I imagine propose simple, sometimes disconcerting rules, inviting children to experiment, divert, negotiate, refuse, or transform the situation offered to them.

 

Some of these installations have been presented in very different contexts, notably in Dubai, and have adapted to the specificities of each place, culture, and audience.

 

On a formal level, these projects are closely connected to my visual practice.

My pixelated paintings, conceived specifically for children, as well as my fragmented drawings, extend a research I have pursued since childhood. Fragmenting the image, rendering it unstable or incomplete, is for me a way of leaving space for imagination, interpretation, and personal reconstruction.

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