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<channel>
	<title>Juliette Ezaoui</title>
	<link>https://julietteezaoui.com</link>
	<description>Juliette Ezaoui</description>
	<pubDate>Mon, 24 Mar 2025 15:17:11 +0000</pubDate>
	<generator>https://julietteezaoui.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Homepage</title>
				
		<link>https://julietteezaoui.com/Homepage</link>

		<pubDate>Fri, 05 Feb 2021 11:28:10 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

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		<description>


Current Show

‘The Worm’s Theatre’

Exhibition at GroundWork Gallery, Norfolk
24th of January -&#38;nbsp;28th of February 2026
EVENT 
21st of February 2026, 2-3pm -&#38;nbsp; In Discussion with Paul Hetherington, Director of communication of Bug’s Life 
28th of February 2026, 2-3pm - Live Performance by Musicien and composer Petri Huurinainen

&#38;nbsp;MORE INFO
</description>
		
	</item>
		
		
	<item>
		<title>2025</title>
				
		<link>https://julietteezaoui.com/2025</link>

		<pubDate>Mon, 24 Mar 2025 15:17:11 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/2025</guid>

		<description>
	Current 
show ‘The Worm’s Theater’
Private view on January 24th, 2026 
GroundWork Gallery 17 Purfleet Street, King’s Lynn, Norfolk
Exhibition runs Saturdays, 11am–4pmJan 24 &#38;amp; 31 / Feb 7, 14, 21, 28 2026
This project was developed in collaboration with artist Stuart Alexander for the lighting design; Petri Huurinainen who brought the sculptures to life with a resonant sound composition ; Dr. Stroud Jacqueline and Jessica Fannon for sharing sounds recording of soil ecology from the Warwick Crop Centre, School of Life Sciences, University of Warwick.
The project was generously supported by Art Council England with the DYPC grant and GroundWork Gallery.Videography &#38;amp; Poster, by Valentine Ezavin.

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‘The Worm’s Theater’ 2025


Work created at Antony Gormley Residency.

High House, Fondation Fondation.



Terracotta, pigment, pin, oak, cotton, mild steel, lights, sound.

Dimension of the installation on photograph App. 7m x 5m.




Conceived as a subterranean theater, the piece casts worms and other soil-dwelling creatures as performers in a succession of scenes revealed one by one by the movement of lights.


The clay sculptures are inspired by Minoan ritual objects of the late Bronze Age, elevating the fauna of the soil and the eye motif to a sacred status. The eye being a key symbol alluding both to the soil’s secret fauna and to the human gaze: bringing forward the subject of observation.


Each sculpture is staged in timber structures, referencing circus and Asian architecture, generating a ritualistic scenography. Small lights move, turn on and off within the installation, casting shifting shadows on the surrounding walls, revealing at times different acts of the theater taking place in the hidden depths of the soil.
	
	&#38;nbsp;&#38;nbsp; 
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	‘The Invisible Theatre’, 2025
 Series of drawings made during a residency at Joya: Arte +Ecologia/Air Residency in Andalousia in February 2025.
Brown ink on natural paper, 250 gr, 14cmx21cm.

Lately I carried on my obsession for what happens under our feet, what we too often see as dirt. But this discarded layer is actually the gold of our civilization, and we depend 100% on it, with food and oxygen being the most obvious examples. I love to squat and observe what is happening. If you have a microscope, it's Regent Street on a Friday before Christmas—every second, every day and night. All these lovely creatures are moving and transforming minerals and organic matter to make this gold—soil. I admire them so much that I created a whole new body of work about this restless micro-world which i love above all.





	
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</description>
		
	</item>
		
		
	<item>
		<title>2024</title>
				
		<link>https://julietteezaoui.com/2024</link>

		<pubDate>Thu, 09 Mar 2023 11:06:49 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/2024</guid>

		<description>
	‘The Secret Kiss’, 2024
 Comissioned by 
House of VoltaireGlazed porcelain, earthenware, pigments, powder coated brass and cotton, 60cmx50cmx5cm


‘The Secret Kiss’ is an artwork inspired by my fascination with observing the non-human world of the soil. After studying soil biology, I began developing a body of work where the micro-fauna of the soil became central characters in theatrical scenes, playful games, and skewed scientific tables, challenging the limitations of our anthropocentric understanding of the ecosystem.

These two worms symbolize the multitude of worlds that coexist beneath our feet. In the soil, life is thousands of times more active than above ground. Cation exchange, mutualisation, decay, growth—bacteria, fungi, protozoa, and animals continuously eat, reproduce, and die. In this piece, the worms gently dance, kiss, and court under the gaze of the human eye—whether curious or wandering—inviting a deeper empathy for the non-human world on which we are entirely dependent.




	
	&#60;img width="2676" height="1507" width_o="2676" height_o="1507" data-src="https://freight.cargo.site/t/original/i/410fa55caf883b07c6993e11449ebe0d7ed1c45eb8956e49b070d1229d0cb00d/Juliette-Ezaoui-The-secret-kiss-edition_01-copy.JPG" data-mid="223313649" border="0"  src="https://freight.cargo.site/w/1000/i/410fa55caf883b07c6993e11449ebe0d7ed1c45eb8956e49b070d1229d0cb00d/Juliette-Ezaoui-The-secret-kiss-edition_01-copy.JPG" /&#62;
&#60;img width="3936" height="2216" width_o="3936" height_o="2216" data-src="https://freight.cargo.site/t/original/i/c51c7f1d6e3dfe6e04f5f9f271860f02935fb258ec290617e0af3eee14a88ddb/Juliette-Ezaoui-The-secret-kiss-edition_2.JPG" data-mid="223313650" border="0"  src="https://freight.cargo.site/w/1000/i/c51c7f1d6e3dfe6e04f5f9f271860f02935fb258ec290617e0af3eee14a88ddb/Juliette-Ezaoui-The-secret-kiss-edition_2.JPG" /&#62;&#60;img width="3936" height="2216" width_o="3936" height_o="2216" data-src="https://freight.cargo.site/t/original/i/31f0f0aa5be311d5c84057996814a7291a9105b40e2cf44bea7fc6be9d6d660c/Juliette-Ezaoui-The-secret-kiss-edition_3.JPG" data-mid="223313651" border="0"  src="https://freight.cargo.site/w/1000/i/31f0f0aa5be311d5c84057996814a7291a9105b40e2cf44bea7fc6be9d6d660c/Juliette-Ezaoui-The-secret-kiss-edition_3.JPG" /&#62;



	

	
		
		
	
	
		
			
				
					‘The Garden of unearthed delights’, 2024

				
			
			
				
					

				
			
			
				
					
Commissioned by Studio Voltaire, 2024&#38;nbsp;
‘In-House : Juliette Ezaoui &#38;amp; Ana Milenkovic’&#38;nbsp;
16th April - 17th June 2024Mild steel, Aluminium, Monoprint, oil paint on recycled paper, 
1800cm x 110cm

	
		
		
	
	
		
			
				
					
Inspired by ‘The Garden of Earthly Delights’ by Hieronymus Bosch, the drawing depicts the secret
life of earthworms. My research has been informed by reading Charles Darwin’s extensive study,
‘The Formation of Vegetable Mould through the Action of Worms with Observations on Their Habits’. In
the drawing, we see the worms collecting food, reproducing, and meandering on the surface of
the soil. Eyes in the drawing become a recurring pattern, emphasizing the notion of observation
and play.

					
The drawing is a monoprint, aesthetically resembling an architectural blueprint. I used the codes
of technical drawings, which I produce in my interior architecture work, to create a technical
drawing of a biological system. Taxonomy codes, annotations, dimensions, captions, degrees,
weights, and various European science codes are present, flying around the drawing on circular
lines. By using the techniques of blueprints, all writing is mirrored, bringing forth the idea of
secrecy, coded maps, and games.

					
My work has also been heavily influenced by Jane Bennett’s essay ‘Vibrant Matter’, which explores the vibrancy between living and non-living things. The movement in my work alludes to
this endless circularity of life and decay in the natural world.

				
			
		
	







				
			
		
	

	
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&#60;img width="7070" height="4716" width_o="7070" height_o="4716" data-src="https://freight.cargo.site/t/original/i/ea9876b2025174cb91166ee5b26cb9d63418c20775138e6b24750818dd9211ff/15In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter.jpg" data-mid="210660532" border="0"  src="https://freight.cargo.site/w/1000/i/ea9876b2025174cb91166ee5b26cb9d63418c20775138e6b24750818dd9211ff/15In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter.jpg" /&#62;
&#60;img width="7070" height="4716" width_o="7070" height_o="4716" data-src="https://freight.cargo.site/t/original/i/d131ed38a370b05066664b0527087c865eeb485d30c2a1995d4691d16ddc9cf2/13In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter.jpg" data-mid="210660650" border="0"  src="https://freight.cargo.site/w/1000/i/d131ed38a370b05066664b0527087c865eeb485d30c2a1995d4691d16ddc9cf2/13In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter.jpg" /&#62;





	‘The Bingo table’, 2024

				
			
			
				
					

				
			
			
				
					Commissioned by Studio Voltaire, 2024 ‘In-House : Juliette Ezaoui &#38;amp; Ana Milenkovic’ 16th Avril - 17th June 2024

Mild steel table with living and non living things displayed.
150cm x 100cm


	
		
		
	
	
		
			
				
					
This installation stems from my curiosity about understanding soil structure and its living web. Resembling a laboratory table, the matter is logically placed on shelves that decrease in size throughout the installation. Through the themesof collecting and the circle of life, the elements laid out move from the living stage, where the
terrarium is, to an atomic level at the lower level—a bank of atoms where the bingo takes place.
Bingo of atoms, of molecules, of matter – bingo of life!

					
The table brings the idea of use, echoing the making of life. Using the codes of scientific furniture but in an absurd manner, just like bingo and science together, it leaves the viewer questioning the functionality of the table.

				
			
		
	



	
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&#60;img width="5191" height="3462" width_o="5191" height_o="3462" data-src="https://freight.cargo.site/t/original/i/aa0bfe9ca91cd92de69dc22224698db1d1abded63d81147b015b363c291a2c3f/47In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter-copie.jpg" data-mid="210661342" border="0"  src="https://freight.cargo.site/w/1000/i/aa0bfe9ca91cd92de69dc22224698db1d1abded63d81147b015b363c291a2c3f/47In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter-copie.jpg" /&#62;
&#60;img width="7941" height="5297" width_o="7941" height_o="5297" data-src="https://freight.cargo.site/t/original/i/6549788c72b5ed6ea2bff2b5d11a2e32d0e98918bc1503647a4795dc1199d95d/51In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter-copie.jpg" data-mid="210661343" border="0"  src="https://freight.cargo.site/w/1000/i/6549788c72b5ed6ea2bff2b5d11a2e32d0e98918bc1503647a4795dc1199d95d/51In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter-copie.jpg" /&#62;
&#60;img width="7826" height="5220" width_o="7826" height_o="5220" data-src="https://freight.cargo.site/t/original/i/840445a5ad9480e42583b2ba9ea93dc20e293684ead91ea9cd148af22016dd38/49In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter.jpg" data-mid="216149422" border="0"  src="https://freight.cargo.site/w/1000/i/840445a5ad9480e42583b2ba9ea93dc20e293684ead91ea9cd148af22016dd38/49In-House_Juliette-Ezaoui-and-Ana-Milenkovic_Installation-view-at-Studio-Voltaire_Images-courtesy-of-the-artists-and-Studio-Voltaire_Photo-Tom-Carter.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>2023</title>
				
		<link>https://julietteezaoui.com/2023</link>

		<pubDate>Fri, 10 May 2024 13:37:33 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/2023</guid>

		<description>
	
	

	

	
		
		
	
	
		
			
				
					‘Witch Stone, Seed Pods, Bee Hive’, 2023

				
			
			
				
					

				
			
			
				
					
Monoprint, oil paint on recycled paper, 
90cm x 64cm





	
		
		
	
	
		
			
				
					I recently completed a series of cartographic drawings. Drawings like ‘Witch Stone, Seed
Pods, Bee Hive’ or ‘Spore, Bingo, Evolution’ are tools that help envisage energies we cannot
see in the world, though we may feel them: the energy between a person and a tree, or a tree and
the microscopic life beneath it. The objects in the drawings are navigated between, and with this
navigation, there is hope of revealing something unseen by a culture of discrete quantifiables
that everything is part of an interdependent system. Playing with the codes of quantifiables
(grids, maps, and blueprints), the form is also subverted through the printing process. It reverses
the image, including the text, whose meaning becomes skewed.

					Looking in the small is looking at a different world. Each fragment is an actor within a new imagined system and also, perhaps, an element in a game.

					This is a game whose rules are unknown to us. An invitation to unlearn the rules, and thus
disinhibit the perceptions we have of our surroundings and how we relate to them. By decom-
posing and fragmenting rules, knowledge, and habits, I believe these can be rebuilt to meet
contemporary needs to foster a shift in our society paradigm.

				
			
		
	

	
	&#60;img width="1830" height="1308" width_o="1830" height_o="1308" data-src="https://freight.cargo.site/t/original/i/6dcf4c69b748b084d1f1d365c2d9f7e3e3a48afa4de16c4253f958984d43e9d5/Water-Erotion-Seeds-Pods-Bee-hive-copie.jpg" data-mid="210659133" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/6dcf4c69b748b084d1f1d365c2d9f7e3e3a48afa4de16c4253f958984d43e9d5/Water-Erotion-Seeds-Pods-Bee-hive-copie.jpg" /&#62;

&#60;img width="1851" height="1324" width_o="1851" height_o="1324" data-src="https://freight.cargo.site/t/original/i/fa5888c56e769e917cf002205b7461507304483d45a0983a120d68b3583ed14e/Spores-Bingo-copie.jpg" data-mid="210659134" border="0"  src="https://freight.cargo.site/w/1000/i/fa5888c56e769e917cf002205b7461507304483d45a0983a120d68b3583ed14e/Spores-Bingo-copie.jpg" /&#62;
‘Spore, Bingo, Evolution’, 2023Monoprint, oil paint on recycled paper, 90cm x 64cm


	‘Radish, Holley Stone, Electron’, 2023

				
			
			
				
					

				
			
			
				
					Monoprint, oil paint on recycled paper, 90cm x 64cm


	
	&#60;img width="1839" height="1325" width_o="1839" height_o="1325" data-src="https://freight.cargo.site/t/original/i/044ea9adb2f6ebf0b033c20e1a925d718255af7d3a5e568cc07f93ca88a2bdd3/Radish_Seeds_Which-Stones-copie.jpg" data-mid="210659135" border="0"  src="https://freight.cargo.site/w/1000/i/044ea9adb2f6ebf0b033c20e1a925d718255af7d3a5e568cc07f93ca88a2bdd3/Radish_Seeds_Which-Stones-copie.jpg" /&#62;


	‘Protozoa, Kale, Voltaire’, 2023Monoprint, oil paint on recycled paper, 90cm x 64cm





	
	&#60;img width="1726" height="1227" width_o="1726" height_o="1227" data-src="https://freight.cargo.site/t/original/i/708a26a84aaaf4b747d38096f59ff11cb17c2cc57e590d9c4a5a042a1be069a2/DSC_3163-4-copie.jpg" data-mid="210659136" border="0"  src="https://freight.cargo.site/w/1000/i/708a26a84aaaf4b747d38096f59ff11cb17c2cc57e590d9c4a5a042a1be069a2/DSC_3163-4-copie.jpg" /&#62;



	










‘Potatoes, Clay, Ants’,2023Monoprint, oil paint on recycled paper, 90cm x 64cm








	
	&#60;img width="1394" height="1950" width_o="1394" height_o="1950" data-src="https://freight.cargo.site/t/original/i/e787125cfcce5029bf417d70c5cd023e76a325626fa16b807191cd82e956b816/DSC_3211-4-copie.jpg" data-mid="210659137" border="0"  src="https://freight.cargo.site/w/1000/i/e787125cfcce5029bf417d70c5cd023e76a325626fa16b807191cd82e956b816/DSC_3211-4-copie.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>2022</title>
				
		<link>https://julietteezaoui.com/2022</link>

		<pubDate>Sat, 06 Aug 2022 17:10:48 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/2022</guid>

		<description>
	
	

	

	
		
		
	
	
		
			
				
					‘Collection of Sand II’, 2022

				
			
			
				
					

				
			
			
				
					Gloves, parsley, tape, borlitti bean, polyethylene, jade, ceramic, green manure, emergency blan-
ket, tape mesure, carolina cayenne chilli, thread, bamboo, rhubarbe, sand, painting from Sukey
Sleeper, paper clips, nitrogene, clay, micro organism, polystyrene, dwarf french bean purple
queen , painting from Phillip Reeves, golden cayenne chilli, etc.

Site specific installation for OrganicLea aniversary festival. OrganicLea is a community food project based in the Lea Valley in north-east London. With a workers’ cooperative at theirs core, they bring people together to take action towards a more just and sustainable society.


					
This installation is part of a series of work exploring the system of life. The work is buil with elements gleaned in OrganicLea, its surroundings and components from previous
artwork. Introducing the circular economy with its transformation process into the process of
the artwork.

					
The work often lies on a table, a place where thoughts flows and where we have dedicated
time to think. The table became a sort of map, a mind map, a Sci-fi map, or simply a map of OrganicLea seen through ants’ eyes? Through a cartographic layout, we jump from the mico and
the macro. The components are lined up from A to B, inviting to question the idea of no-
menclature, definition and boundaries.

					
The title comes from Italo Calvino’ book, in his short nouvelle ‘Collection of Sand’ he explores
the underneath of what is the purpose of a collection, the impulse of collecting objects and
what existential question lies in this act.

				
			
		
	

	
	&#60;img width="2048" height="1379" width_o="2048" height_o="1379" data-src="https://freight.cargo.site/t/original/i/0d0e2797e89c18dc4f8ce81cfc8855cbcbe959698bc77e2c5372f2e59c1f5d9d/DSC_0162.jpg" data-mid="161319033" border="0"  src="https://freight.cargo.site/w/1000/i/0d0e2797e89c18dc4f8ce81cfc8855cbcbe959698bc77e2c5372f2e59c1f5d9d/DSC_0162.jpg" /&#62;
&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/f369a81cace7398d6b46fa856c8c3f8533358873002cbbf0c863f7f6d9add2c6/DSC_0160.jpg" data-mid="161319016" border="0"  src="https://freight.cargo.site/w/1000/i/f369a81cace7398d6b46fa856c8c3f8533358873002cbbf0c863f7f6d9add2c6/DSC_0160.jpg" /&#62;

&#60;img width="2048" height="1329" width_o="2048" height_o="1329" data-src="https://freight.cargo.site/t/original/i/e0934e81af90140da89cb9403a9dd6e997b3ebee9100650ed6f5d8cc3a892a59/DSC_0155.jpg" data-mid="161319029" border="0"  src="https://freight.cargo.site/w/1000/i/e0934e81af90140da89cb9403a9dd6e997b3ebee9100650ed6f5d8cc3a892a59/DSC_0155.jpg" /&#62;
&#60;img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/1639a91ca551a293e38c0bc4a57c75416a42a660696e7a47c4397fe2a06a5bb5/DSC_0110.jpg" data-mid="161319085" border="0"  src="https://freight.cargo.site/w/1000/i/1639a91ca551a293e38c0bc4a57c75416a42a660696e7a47c4397fe2a06a5bb5/DSC_0110.jpg" /&#62;

&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/0fc8bb97127a2566b31a648034ae419467cb704e458e09f76bda10817f1c17ea/DSC_0083.jpg" data-mid="161319234" border="0"  src="https://freight.cargo.site/w/1000/i/0fc8bb97127a2566b31a648034ae419467cb704e458e09f76bda10817f1c17ea/DSC_0083.jpg" /&#62;
&#60;img width="2048" height="1364" width_o="2048" height_o="1364" data-src="https://freight.cargo.site/t/original/i/5ced0f9674c99ac8b91b439a6648b39ca53facb4941165ef79de121490209e0c/DSC_0049.jpg" data-mid="161319251" border="0"  src="https://freight.cargo.site/w/1000/i/5ced0f9674c99ac8b91b439a6648b39ca53facb4941165ef79de121490209e0c/DSC_0049.jpg" /&#62;
&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/8dcafb77e78e0793a970288f97062fbb7ddf4f7ac1ce3a39e985d82f62a0a216/DSC_0037.jpg" data-mid="161319270" border="0"  src="https://freight.cargo.site/w/1000/i/8dcafb77e78e0793a970288f97062fbb7ddf4f7ac1ce3a39e985d82f62a0a216/DSC_0037.jpg" /&#62;



	
‘Collection of Sand’,&#38;nbsp;2022
Site specific installation realized during a month long residency at the Cyprus College of Art.&#38;nbsp;
Table, snails, Solandra maxima, scissors, cala-
mondin, oil ink, glass of water, 5$, string, eucalyptus fruit, water, brick, video, oxygen, pastel, mirror, liz-
zard, pomegranate, pins, charcoal, composite timber, chair, seeds, 120gm paper, oxidised metal, needles,
Opunta ficus-indica, olive pips, wire metal, tape, glue, roots.


				
			
		
	




	
	
&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/6c80cacbfdc94f5263408e3fcfeb0409466d63038a4a80433cafa799ebc8e210/DSC_0159.JPG" data-mid="149958890" border="0"  src="https://freight.cargo.site/w/1000/i/6c80cacbfdc94f5263408e3fcfeb0409466d63038a4a80433cafa799ebc8e210/DSC_0159.JPG" /&#62;
&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/d8b3e183e689262c98d2579e99d8f5d46f8a3e75844adb37bc2c012861ac3da0/DSC_0204.JPG" data-mid="149958891" border="0"  src="https://freight.cargo.site/w/1000/i/d8b3e183e689262c98d2579e99d8f5d46f8a3e75844adb37bc2c012861ac3da0/DSC_0204.JPG" /&#62;

&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/453668f72b8a06935e931815d715fa23b2b8b0c902a84a3b4e3d74794213ee18/DSC_0157.JPG" data-mid="149958889" border="0"  src="https://freight.cargo.site/w/1000/i/453668f72b8a06935e931815d715fa23b2b8b0c902a84a3b4e3d74794213ee18/DSC_0157.JPG" /&#62;

&#60;img width="3872" height="2501" width_o="3872" height_o="2501" data-src="https://freight.cargo.site/t/original/i/694a630926bcc83e2d02f585dfc5bc283b404bc976e9c8615ce27b8bf199c8ec/DSC_0008.JPG" data-mid="149958884" border="0"  src="https://freight.cargo.site/w/1000/i/694a630926bcc83e2d02f585dfc5bc283b404bc976e9c8615ce27b8bf199c8ec/DSC_0008.JPG" /&#62;
&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/668c4c334036a3457c9d68f4085494330c1d4b27835d646a4e4959e129bdaef4/DSC_0002.JPG" data-mid="149958883" border="0"  src="https://freight.cargo.site/w/1000/i/668c4c334036a3457c9d68f4085494330c1d4b27835d646a4e4959e129bdaef4/DSC_0002.JPG" /&#62;
&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/3194d00173bce19b9cbd07e2deedef8c2fb246bc636ed2ef05f3b7f0901fce51/DSC_0389.JPG" data-mid="149958893" border="0"  src="https://freight.cargo.site/w/1000/i/3194d00173bce19b9cbd07e2deedef8c2fb246bc636ed2ef05f3b7f0901fce51/DSC_0389.JPG" /&#62;
&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/f3c28e4ab3fec98f89a2a98face12ca8a86e211ba884d158c8f85f253303d3fc/DSC_0010.JPG" data-mid="149958885" border="0"  src="https://freight.cargo.site/w/1000/i/f3c28e4ab3fec98f89a2a98face12ca8a86e211ba884d158c8f85f253303d3fc/DSC_0010.JPG" /&#62;
&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/82154ad302aa02be599274d151ad15c73beea07cf363f605a7a4b85968a791d2/DSC_0372.JPG" data-mid="149958892" border="0"  src="https://freight.cargo.site/w/1000/i/82154ad302aa02be599274d151ad15c73beea07cf363f605a7a4b85968a791d2/DSC_0372.JPG" /&#62;





	











	
‘The table maker II’,&#38;nbsp;2022
 Installation comissioned by John Wyatt-Clarke currator for ‘Room Share’ organized by BLINK Collective at the Safe House in Peckham London.

  Table, plant catalogue, string, Kalanchoe beharensis, coir, clay, ruller, charcoal, cissors, oyster shell, pearl, aralia, corals, timber, grape stem, glue, needles, paper, metal wire, sand, ink, wool, tape, ceramic. 
This work was presented with an audio piece realized by Lisa Hall &#38;amp; Hannah Kemp-Welch,&#38;nbsp;Sound Map (2017), 14 audio works, 2 minutes each.


















	
	&#60;img width="2048" height="1360" width_o="2048" height_o="1360" data-src="https://freight.cargo.site/t/original/i/a9f066d97428212f9c09caa5824bd9683dceb057870d6d9034eec0ff8d480a2b/DSC_0296.jpg" data-mid="149776517" border="0"  src="https://freight.cargo.site/w/1000/i/a9f066d97428212f9c09caa5824bd9683dceb057870d6d9034eec0ff8d480a2b/DSC_0296.jpg" /&#62;
&#60;img width="2048" height="1360" width_o="2048" height_o="1360" data-src="https://freight.cargo.site/t/original/i/4ddb9451230c6a8d235fcb58d8889b34238f12aef470d18fc253744a51dd928b/DSC_0212.jpg" data-mid="149776516" border="0"  src="https://freight.cargo.site/w/1000/i/4ddb9451230c6a8d235fcb58d8889b34238f12aef470d18fc253744a51dd928b/DSC_0212.jpg" /&#62;

&#60;img width="2048" height="1360" width_o="2048" height_o="1360" data-src="https://freight.cargo.site/t/original/i/1c4fe76c39e69cc8baa56ecec6d5a92c6f9796746c66660bdf9c00b267e4df7c/DSC_0336.jpg" data-mid="149776522" border="0"  src="https://freight.cargo.site/w/1000/i/1c4fe76c39e69cc8baa56ecec6d5a92c6f9796746c66660bdf9c00b267e4df7c/DSC_0336.jpg" /&#62;&#60;img width="2048" height="1360" width_o="2048" height_o="1360" data-src="https://freight.cargo.site/t/original/i/553c86031278fe0889113923474f3b6e182784901459134db6c45306ae223e87/DSC_0341.jpg" data-mid="149776523" border="0"  src="https://freight.cargo.site/w/1000/i/553c86031278fe0889113923474f3b6e182784901459134db6c45306ae223e87/DSC_0341.jpg" /&#62;
&#60;img width="2048" height="1360" width_o="2048" height_o="1360" data-src="https://freight.cargo.site/t/original/i/67fc287601548bb811ab4aaa3ab38ef4057f5cb55a9e66091299123f3be19e2a/DSC_0374.jpg" data-mid="149776525" border="0"  src="https://freight.cargo.site/w/1000/i/67fc287601548bb811ab4aaa3ab38ef4057f5cb55a9e66091299123f3be19e2a/DSC_0374.jpg" /&#62;
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&#60;img width="2048" height="1350" width_o="2048" height_o="1350" data-src="https://freight.cargo.site/t/original/i/f3dbf0e5b08ffbdf1ec2c2c68cef6722f41ef0ddf93eb40aacd10d5484a2a6a2/DSC_0376.jpg" data-mid="149776526" border="0"  src="https://freight.cargo.site/w/1000/i/f3dbf0e5b08ffbdf1ec2c2c68cef6722f41ef0ddf93eb40aacd10d5484a2a6a2/DSC_0376.jpg" /&#62;


&#60;img width="2048" height="1360" width_o="2048" height_o="1360" data-src="https://freight.cargo.site/t/original/i/525e158c0fde8fc1d49be6b5555615b77db3a3ade7c4a086eeaaf98263c4abee/DSC_0384.jpg" data-mid="149776528" border="0"  src="https://freight.cargo.site/w/1000/i/525e158c0fde8fc1d49be6b5555615b77db3a3ade7c4a086eeaaf98263c4abee/DSC_0384.jpg" /&#62;

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</description>
		
	</item>
		
		
	<item>
		<title>2021</title>
				
		<link>https://julietteezaoui.com/2021</link>

		<pubDate>Mon, 07 Feb 2022 10:18:14 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/2021</guid>

		<description>
	‘Begonias 2094’,&#38;nbsp;2021
Installation, Begonias, soil, water, emergency blanquets, charcoal.

Installation shots for Turps final show at Thames Sides Studio Gallery, London.’2094 Begonias’ is an installation of 27 emergency blankets. On the blankets the entire list of existing species of begonia is written. Written and embedded – seared even – with a process based on charcoal. Alongside the blankets, a large quantity of begonias were planted on the gallery floor. This work questions the gesture of writing in learning, our awareness of botanical species and notions of materiality in a time of fragile virtual information. It make us reflect on where we get flora knowledge nowadays, how all knowledge is transferred and from whom?
	
	&#60;img width="3008" height="1688" width_o="3008" height_o="1688" data-src="https://freight.cargo.site/t/original/i/6fd25e224195943c0a4b8e4e76884ce36ea1381592ad17eaa94ab708ddfd5eea/DSC05030.JPG" data-mid="132693299" border="0"  src="https://freight.cargo.site/w/1000/i/6fd25e224195943c0a4b8e4e76884ce36ea1381592ad17eaa94ab708ddfd5eea/DSC05030.JPG" /&#62;
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&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/00eb1625250f80b26797223bc92d39fc8b7fdfbc674359635de35150b8b20749/Begonia--2082--Photo-03-2.jpg" data-mid="132693281" border="0"  src="https://freight.cargo.site/w/1000/i/00eb1625250f80b26797223bc92d39fc8b7fdfbc674359635de35150b8b20749/Begonia--2082--Photo-03-2.jpg" /&#62;
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&#60;img width="3008" height="1688" width_o="3008" height_o="1688" data-src="https://freight.cargo.site/t/original/i/5090f32434897d149a5f4f6ea77784a14aaea6be3a3c09fe838e1f4a9f807790/DSC04701.JPG" data-mid="132693315" border="0"  src="https://freight.cargo.site/w/1000/i/5090f32434897d149a5f4f6ea77784a14aaea6be3a3c09fe838e1f4a9f807790/DSC04701.JPG" /&#62;
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	Squating,&#38;nbsp;2021Installation, variation of ceramics 
	
	&#60;img width="4288" height="2648" width_o="4288" height_o="2648" data-src="https://freight.cargo.site/t/original/i/466472c6e86c327e1463157c82308b5ecf615defd5558c2c27d0ec87bc80f0a6/DSC_0886.JPG" data-mid="132698042" border="0"  src="https://freight.cargo.site/w/1000/i/466472c6e86c327e1463157c82308b5ecf615defd5558c2c27d0ec87bc80f0a6/DSC_0886.JPG" /&#62;
&#60;img width="4288" height="1392" width_o="4288" height_o="1392" data-src="https://freight.cargo.site/t/original/i/37330d237731a4f9f3c5ad60567e0fde71eca7f87526ad34a9ba8583a31a2b3a/DSC_0896-copy.jpg" data-mid="132702406" border="0"  src="https://freight.cargo.site/w/1000/i/37330d237731a4f9f3c5ad60567e0fde71eca7f87526ad34a9ba8583a31a2b3a/DSC_0896-copy.jpg" /&#62;

	Idendify, isolate, define, label, title, time, enthropy, movement, merge, compose, isolate, identify, define...
Installation, canevas, ceramic, paper, fabric, needles, paint.

	




	
&#60;img width="3952" height="2520" width_o="3952" height_o="2520" data-src="https://freight.cargo.site/t/original/i/6e2c56593532d9126452e0d9274e192ec9a4438d937bbff2a254baee195757aa/DSC_0090-copy.jpg" data-mid="132743991" border="0"  src="https://freight.cargo.site/w/1000/i/6e2c56593532d9126452e0d9274e192ec9a4438d937bbff2a254baee195757aa/DSC_0090-copy.jpg" /&#62;
&#60;img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/0b3d0e281edf8c30c4f302d34b92924f792e067da2cade8f75b3ba40b6695b8d/DSC_0101.jpg" data-mid="132743993" border="0"  src="https://freight.cargo.site/w/1000/i/0b3d0e281edf8c30c4f302d34b92924f792e067da2cade8f75b3ba40b6695b8d/DSC_0101.jpg" /&#62;



	Compositions 
Pastel drawings on paper
21 cm x 29,7 cm, recycled paper 110grThoughts about entropy 
We are what is around us. 


First, what are the elements that surround our selves, what are they? That is one of our obsessions ... or is it a necessity for survival? We constantly strive to define the ‘other’, the external to us, to generate sense and to run from the unknown. The fears, these fears. Defining our environment is to define ourselves. To do so we constantly repeat the following : we look, we divide in order to isolate, then we can locate and therefore define...whatever it is. Eureka, now we are safe, and in response we can anchor ourselves and others. 


Time shapes this process. As time passes, it undermines, erodes, dissolves the boundaries of the previously defined elements. And we are back to defining it again, so we look, divide, isolate, locate, define. 


One element divided in two gives two elements to divide, n’est-ce pas. The whole process has a hint of pointlessness. Pointless in the time wasted on a recurrent thinking process. But inevitable because to define is to define ourselves and therefore to BE, some enlightenment writers would argue. Maybe keeping boundaries softer may be a key to navigating life with more ease? Living with entropy.



	
	
&#60;img width="1166" height="1654" width_o="1166" height_o="1654" data-src="https://freight.cargo.site/t/original/i/904adaf650e7dc52907bb031355bc0dd44cd569c1239e21045f8ff9024fe777a/Composition-01---Out-of-tempo--let-s-sit-here-copie.jpg" data-mid="150245404" border="0"  src="https://freight.cargo.site/w/1000/i/904adaf650e7dc52907bb031355bc0dd44cd569c1239e21045f8ff9024fe777a/Composition-01---Out-of-tempo--let-s-sit-here-copie.jpg" /&#62;
&#60;img width="1297" height="1833" width_o="1297" height_o="1833" data-src="https://freight.cargo.site/t/original/i/206233b375ecdbd9b56ba0f1020eb130352cf38ee178af621b00874e8b19bd58/Composition-07---I-have-counted-86-plants-in-the-house-copie.jpg" data-mid="150245406" border="0"  src="https://freight.cargo.site/w/1000/i/206233b375ecdbd9b56ba0f1020eb130352cf38ee178af621b00874e8b19bd58/Composition-07---I-have-counted-86-plants-in-the-house-copie.jpg" /&#62;

&#60;img width="1210" height="1746" width_o="1210" height_o="1746" data-src="https://freight.cargo.site/t/original/i/31ae49aa934275e4a1039133554dfd8a61b91f448a85cb77b3cf8db81f93b809/Composition-02---Gainsbourg-she-told-me-copie.jpg" data-mid="150245405" border="0"  src="https://freight.cargo.site/w/1000/i/31ae49aa934275e4a1039133554dfd8a61b91f448a85cb77b3cf8db81f93b809/Composition-02---Gainsbourg-she-told-me-copie.jpg" /&#62;
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&#60;img width="1236" height="1772" width_o="1236" height_o="1772" data-src="https://freight.cargo.site/t/original/i/6ae6cb754a2e13a97731b5863a0afb3a3428ab1b90f1b52adc5d882f2ff6e013/Composition-08---This-morning-is-planting--I-have-soil-in-my-coffee-copie.jpg" data-mid="150245407" border="0"  src="https://freight.cargo.site/w/1000/i/6ae6cb754a2e13a97731b5863a0afb3a3428ab1b90f1b52adc5d882f2ff6e013/Composition-08---This-morning-is-planting--I-have-soil-in-my-coffee-copie.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>2020</title>
				
		<link>https://julietteezaoui.com/2020</link>

		<pubDate>Fri, 05 Feb 2021 11:28:09 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/2020</guid>

		<description>
	Trauma and after, 2020 
Cotton acrylic clay ceramic and jute.&#38;nbsp;2400mm x 2400mm
	
	
&#60;img width="3216" height="2136" width_o="3216" height_o="2136" data-src="https://freight.cargo.site/t/original/i/8edc0261e5439f039b0b5f13061f5fa92a63dfb20c1039999ddb738a1210ba30/Juliette-Ezavin-Front-Image.JPG" data-mid="97943840" border="0"  src="https://freight.cargo.site/w/1000/i/8edc0261e5439f039b0b5f13061f5fa92a63dfb20c1039999ddb738a1210ba30/Juliette-Ezavin-Front-Image.JPG" /&#62;
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&#60;img width="3216" height="2136" width_o="3216" height_o="2136" data-src="https://freight.cargo.site/t/original/i/7bf168825f73cc7981e05668ea626f83966dbc7ec7a1c14f51e7c7fe87226d58/Juliette-Ezavin-Detail-02.jpg" data-mid="97946788" border="0"  src="https://freight.cargo.site/w/1000/i/7bf168825f73cc7981e05668ea626f83966dbc7ec7a1c14f51e7c7fe87226d58/Juliette-Ezavin-Detail-02.jpg" /&#62;
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	He says from 0 to 7 years old is the most important years, 
Cotton, acrylic, hemp, needles, charcoal.
Thoughts of resilience 

Definition from Boris Cyrulnik, French neuropsychiatrist and ethnologist.


Resilience is the ability to withstand shocks without permanent deformation or rupture. The quality of being able to return quickly to a previous good condition after a traumatic event.





	


	&#60;img width="3216" height="2136" width_o="3216" height_o="2136" data-src="https://freight.cargo.site/t/original/i/bbfc2bbf0a2cb6bf41b432b66f35b1f1074dc2531a4fdf8c6761c020e3ec74a1/Juliette-Ezavin-Front-Image_V2.jpg" data-mid="98093537" border="0"  src="https://freight.cargo.site/w/1000/i/bbfc2bbf0a2cb6bf41b432b66f35b1f1074dc2531a4fdf8c6761c020e3ec74a1/Juliette-Ezavin-Front-Image_V2.jpg" /&#62;


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&#60;img width="3216" height="2136" width_o="3216" height_o="2136" data-src="https://freight.cargo.site/t/original/i/64996cbbc7e4caf33c8321bf5d58671df75927cfe11081406b16a1867a3fd908/Juliette-Ezavin-Detail-05.jpg" data-mid="97945645" border="0"  src="https://freight.cargo.site/w/1000/i/64996cbbc7e4caf33c8321bf5d58671df75927cfe11081406b16a1867a3fd908/Juliette-Ezavin-Detail-05.jpg" /&#62;


	System systems, 2020, 
Shelf, ceramic, linen, cotton, whool, needles.Thoughts on the symbioses


Element apart. 


Looking carefully, introspection, forensic, excavation.


The shape informs the reason or the reason informs the shape? 


Anthropocentrism.


Where shapelessness can exist? 


Is everything responding to something else?


The outside is the inside. 


The macro is microcosm. 


And we are part of it.


	
	&#60;img width="3216" height="2136" width_o="3216" height_o="2136" data-src="https://freight.cargo.site/t/original/i/c361357b9c829a27e17c4ff2ea4316c73ff99f117b8b3cc601c53d3a6434d834/Juliette-Ezavin-Front-Picture.jpg" data-mid="97948906" border="0"  src="https://freight.cargo.site/w/1000/i/c361357b9c829a27e17c4ff2ea4316c73ff99f117b8b3cc601c53d3a6434d834/Juliette-Ezavin-Front-Picture.jpg" /&#62;


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Thoughts about entropy 
We are what is around us. 


First, what are the elements that surround our selves, what are they? That is one of our obsessions ... or is it a necessity for survival? We constantly strive to define the ‘other’, the external to us, to generate sense and to run from the unknown. The fears, these fears. Defining our environment is to define ourselves. To do so we constantly repeat the following : we look, we divide in order to isolate, then we can locate and therefore define...whatever it is. Eureka, now we are safe, and in response we can anchor ourselves and others. 


Time shapes this process. As time passes, it undermines, erodes, dissolves the boundaries of the previously defined elements. And we are back to defining it again, so we look, divide, isolate, locate, define. 


One element divided in two gives two elements to divide, n’est-ce pas. The whole process has a hint of pointlessness. Pointless in the time wasted on a recurrent thinking process. But inevitable because to define is to define ourselves and therefore to BE, some enlightenment writers would argue. Maybe keeping boundaries softer may be a key to navigating life with more ease? Living with entropy.


	
	
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</description>
		
	</item>
		
		
	<item>
		<title>2019</title>
				
		<link>https://julietteezaoui.com/2019</link>

		<pubDate>Wed, 10 Jul 2019 14:47:56 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/2019</guid>

		<description>
	Cougard, 2019

1120 x 1600 mm Acrylic, oil sticks, pastels on canevas
She burns like the sun, 2019

2000 x 2000 mm
Acrylic, oil sticks, charcoal on canevas 

Body of work produced during two months of Residency at PADA in Barreiro, Lisbon.Painting photographed in an abandoned paint factory at C.U.F Industrial Park.
	



	
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</description>
		
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	<item>
		<title>Information</title>
				
		<link>https://julietteezaoui.com/Information</link>

		<pubDate>Fri, 05 Feb 2021 11:28:11 +0000</pubDate>

		<dc:creator>Juliette Ezaoui</dc:creator>

		<guid isPermaLink="true">https://julietteezaoui.com/Information</guid>

		<description>
	
	Juliette Ezaoui creates large-scale ecosystems in which she works to understand her local&#38;nbsp;surroundings.

Ezaoui’s art explores the interconnectedness of life, challenging anthropocentric perspectives by using familiar scientific language in absurd, playful ways through drawings, sculptures, and installations. Subverting these knowledge and playing with codes of games she
 create an invitation of redefining rules, knowledges and habits.

As an interior architect and the daughter of a botanist, Ezaoui’s fascination with micro-level ecosystems has led her to study horticulture, particularly soil life. Her art serves as a map of these interconnected systems, revealing unseen energies and inviting viewers to reimagine how we perceive and relate to our environment.
Ezaoui (b.1992) has an MA in Interior Architecture from Olivier de Serre in Paris 2014, attended the Turps Art School studio programme in London from 2019-2021 and recently completed a course in Organic Horticulture from OrganicLea, London. She has shown works with Studio Voltaire, London; the Blink collective, London; OrganicLea Farm, London; Cyprus College of Art, Cyprus; PADA Gallery, Lisbon; Gallery Tarivoci, Paris and Soho Beach Hotel, Barcelona.
Currently based at&#38;nbsp;Studio Voltaire, London. 
Recipient of Develop Your Creative Practice 2025 grant from the Arts Council England.
For all enquiries please contact me at julietteezaoui@gmail.com


Limited Edition 
2024 - ‘The secret Kiss’ Edition of 25 sculptures comissioned by House of Voltaire




Group Exhibitions
2024 - ‘Methamorphoses’ Projection short film Gleaners Collective, Studio Voltaire, London
2024 - ‘Room Share’ currated by Blink Collective, Safe House - London
2024 - In House: Juliette Ezaoui, Ana Milenkovic, Studio Voltaire - London
2023 - ‘Works on paper’ show, Blue Shop Cottage - London
2022 - ‘Collection of Sand’ Site specific instalation,OrganicLea Farm Festival - London
2022 - ‘What Remained’ Currated by Molly Rose Butt - Eel Pie Island, London
2022 - ‘What Remain’ Cypruss College of Art - Pathos
2022 - ‘Room Shares’ Currated Blink Collective at SafeHouse - London
2021 - ‘Turps show’ Tames Side Studio Gallery - London
2019 - ‘I could go on for ever’ exhibition currated by Kate Mothes at PADA Studio - Lisbon 
2018 - ‘Tarivoci à passer a l’heure d’été’ Gallery Tarivoci - Paris 
2018 - ‘Art in the garden’ Clapton river side -&#38;nbsp; London 



Solo Exhibitions
2026 - Current&#38;nbsp; - ‘The Worm’s Theater’ GroundWork Gallery - Norfolk
2019 - ‘News : Life is a cannelloni’ Artist in residence at Craving coffee - London
2018 - ‘Il y a pas besoin de faire la gueule’ Tarivoci Gallery - Paris
2018 - ‘You don’t have to sulk to do Contemporary Art’ Crate Brewery - London
2017 - ‘After-sun Moisturizer’ Currated by Pizzazz Collectif, Pilot Magazin Studio - London





ResidenciesJune 2025 - 2 months, Helgate Residency - Norwich, UkJuly 2025 - 5 weeks, West Acre, High House - Norfolk, UK

January 2025 - 3 weeks, Joya Residency - Grenada, Spain

2022 - 1 month, Grampus Heritage - Cyprus College of Art Residency, Greece
2021 - 2 months, PADA Gallery - Lisbon, Portugale

Publication
2025 - Coming - Interview with Art by Artist youtube and instagram platform &#38;nbsp;
2024 - ‘Dinning under the table’ with the Chelsea curatorial MA students and the Mosaic Rooms
&#38;nbsp;

2020 - In discussion with the artist Bislatchi, part of the long range studio visit orgenized by PADA. &#38;nbsp;
2020 - Interview with artist Laura Bastera&#38;nbsp;

2019 - Interview for Chapter89 magazine Magazine 

2016 - Interview for ‘Le papier fait de la resistance’


	
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