Marsyas, 2026, etching on Tosa Tengujo paper, 7.3 g, 70 x 50 cm, edition of 6, print 3/6
In the work Marsyas, I revisit the myth by focusing not on the scene of torment, but on the moment when the body loses its skin. What once enveloped the body becomes an autonomous surface, a membrane turned outward toward the world. Separated from the body, Marsyas’s skin becomes a receptacle: it can receive traces, breaths, and imprints.
This image leads me to think about printmaking differently. For me, it is not simply a reproductive technique, but an act of inscription into a skin. Tengujō paper is not merely a support; it becomes a sensitive skin in its own right. The gesture settles into it, transforms the material, and inscribes a memory within it. The plate serves only to transmit the imprint; the true life of the process lies in the paper itself, in its capacity to vibrate and to respond.
The connection with the notion of the Skin-Ego, developed by Didier Anzieu, is essential here. Human skin is both boundary and interface, a space of exchange and protection. Engraved paper functions in much the same way: it becomes a threshold, a site of contact and transformation.
. Printmaking thus allows me to make perceptible that moment when matter becomes membrane, when the surface comes alive, and when the gesture inscribes memory into an organic skin. It reveals how something interior can unfold outward, how a surface receives, reacts, and is transformed through contact with the world. Like the skin of Marsyas, the print remains suspended, vibrant, and sensitive to the breaths, movements, and passages that move through it.
etchings works/ among others / à peine / hollow