• 2006
  • Vesontio

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  • 2006
  • Vesontio

Visual identity, scenography and communication of the exhibition « De Vesontio à Besançon, la ville s’expose ».

  • Musée des beaux-arts et d’archéologie de Besançon
  • 3000 m²
  • Typeface:
  • exhibition Besançon
  • 2009
  • Le Premier Art Roman

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  • 2009
  • Le Premier Art Roman

Scenography of the archeological exhibition « Franche-Comté et premier art roman » at the Musée de l’Abbaye de Saint-Claude (14 June - 20 Sept. 2009). The exhibition was an opportunity to highlight the architecture of the museum, an old Romanesque abbey, as well as the many monuments of the region.The difficulty was the very large proportion of explanatory panels, which were also quite dense, to be installed in a reduced space. The solution was to take advantage of the ceiling motif, by sliding panels onto it, mounted on adjustable jacks. These panels could move easily, and punctuate the space by limiting the footprint. T
exts, plans and pictures were printed digitally, directly on the MDF panels. In collaboration with Anaïs Maillot.

  • Musée de l’Abbaye, Saint-Claude
  • Digital print, 5 colors
  • Mignotgraphie
  • Typeface:
  • exhibition
  • 2013
  • Kantia — Exposition

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  • 2013
  • Kantia — Exposition

Born in Russia, André Pavlovski (1891-1961) brought modernism to basque architecture in the 1930s. For its first publication, I proposed to Kantia editor, based in Saint-Jean-de-Luz (in a beautiful Pavlovski house) to imagine a series of poster inspired by his most emblematic work, the Harbor Lights of the city. Two asymetrical towers, on both sides of the port, one in white and red (Saint-Jean) the other in white and green (Ciboure). I studied Pavlovsky architecural vocabulary, made of flat asymetrical surfaces and geometry, and proposed a complex graphic system to produce a series of posters. 4 compositions present one view of Saint-Jean, one of Ciboure, and two of both harbor lights, in 3 colors : Blue, Red and Green. Blue defines the sky and the silhouettes of the buildings : printed in split fountain, it evolves from dawn to dusk. The composition allows green and red colors to be combined upside up and upside down, to reveal several views of the harbors, and create imaginary ones. In one single print-run, 168 different posters were produced with Lézard Graphique, in Brumath. Some posters are still available at www.kantia.eu. 26 posters of the series were presented at the Rotonde, a beautiful circular gallery by Robert Mallet-Stevens in Saint-Jean de Luz, in Spring 2013.

  • Kantia, éditeur d’images
  • 550 × 850 mm
  • Silkscreen, 3 colors
  • Lézard graphique
  • Typeface:
  • exhibition Kantia
  • 2008
  • Histoires d’imprimeurs

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  • 2008
  • Histoires d’imprimeurs

Scenography of the exhibition “Histoires d’imprimeurs en Champagne Ardenne” (30 June – 18 Oct. 2018) at the Médiathèque de l’Agglomeration Troyenne. Typeset in Jannon, by František Štorm, a revival of Jean Jannon types, cut in Sedan (in Champagne-Ardennes) in the 17th Century.

  • 2019
  • Murs et Merveilles

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  • 2019
  • Murs et Merveilles

Identity and scenography of the exhibition “Murs et Merveilles”, on ancient and contemporary wallpapers. Musée Départemental des arts et traditions populaires Albert et Félicie Demard de Champlitte. In collaboration with Small Studio