Drawing has always been central to Boris Labbé's life. He looks for many ways to express this material, to make it " overflowing, crackling, crackling, proliferating, living" using several processes: from classical drawing to 3D animation, and from virtual reality to scenography and video installation.

In this exhibition Ito Meikyū (formula invented from a collage of two words: ito 糸 which means "thread" and, meikyū 迷宮 which means "labyrinth") / Thread of wanderingIn his work, the artist draws inspiration from what surrounds him, from what he feels, from what he doesn't express. He invites the viewer to wander among these things that emerge from his mind, without necessarily being linked, and which appear to the consciousness in the course of life.

The artist is guided by the moments of her life, her travels, her encounters and her readings, particularly classical art and Japanese literature. Among other things, her creative process echoes two major female authors of the XIᵉ s., such as Murasaki Shikibu and the various scenes she imagines in the story of the Tale of Genji, or Sei Shōnagon in Notes de Chevetswith the "Things" listed in her diary by the "brushstroke" of her mind's feelings and emergences.

Boris Labbé is also attached to the typical motif of traditional Japanese painting, the Fukinuki Yatai technique. Fukinuki Yatai (translated as "roofs torn off by the wind"), which depicts the interior of a building, seen from above, with no ceiling. With this composition, he explores the multiplicity of viewpoints, the interconnected narrative relationship, the almost encyclopedic panoramic vision, and the challenges of associating geometries, motifs and characters.

The exhibition invites us to follow a continuous, impalpable thread between his works, which, like a labyrinthine path in his mind, takes the viewer on a loop, from drawing to virtual reality... and from virtual reality to drawing. Words become lists, drawings become collections, their spatialization becomes volume and architecture, then deconstruction, and their multiplication becomes movement and repetition.

The work is indeed there: there is never an end, in the movement as long as life is there, as long as Things emerge from thought, then everything can be, and everything can begin again.

"Interior and exterior, transparency and opacity, exhibitionism and voyeurism, lightness and heaviness, feminine and masculine; All these notions oppose or unite in the infinite cycle of a labyrinth with no way out. »