Boris Labbé is looking for several ways to express the material of the drawing: to make it "overflow, crack, crackle, proliferate, live”. Drawing has always been central to her life and has been nourished by several encounters and projects: from classical drawing to 3D animation, and from virtual reality to performance and video installation.

In this exhibition, drawing becomes volume and architecture with the central work Ito Meikyu (a word invented from a collage of two words: ito which means "thread" and, meikyu which means "labyrinth").

The immersive and interactive work invites the viewer to immerse themselves in a large animated fresco. It presents a heterogeneous collection of drawn, animated and sound scenes, which are taken from the digital material. In a way, she recreates a subjective world (inner and outer world) in the form of a labyrinth composed of fractal architectures, inhabited by plants, objects, animals, men, women, patterns and calligraphy. The spectator is invited to wander through this virtual space in a free way, letting himself be guided by the chance of his discoveries.

This virtual reality installation is inspired by key works of classical art and Japanese literature (such as The Tale of Genji by Murasaki Shikibu and Bedside Notes by Sei Shonagon), but also by various contacts and events in the artist's life and his travels in Japan.

Boris Labbé is also attached to the typical motif of traditional Japanese painting, the Fukinuki Yatai technique (translated as "roof removed") which represents the interior of a building, seen from above, without a ceiling. Through this composition, he explores the multiplicity of points of view, the interconnected narrative relationship, the almost encyclopedic panoramic composition, and the issues of composition of geometries, motifs and characters.

The exhibition proposes to follow a continuous and impalpable thread between the works of Boris Labbé. A Thread, like a labyrinthine entry into the artist's mind, which takes the viewer from drawing to virtual reality. Words become lists, drawings become collections, their spatial arrangements become construction and deconstruction, and their multiplications become movement and repetition.

"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."