I work from a place of absence.

Not as a void to be filled, but as an immaterial substance from which my practice unfolds — what persists when rituals fade, when languages are lost, when gestures no longer convey meaning.

As a third-generation descendant of Amazigh and Breton heritage, I did not grow up within these cultures. I carry two legacies without ever having had direct access to them. My work arises from this absence, from these interrupted transmissions. From these gaps, I create sensitive counter-archives and imaginary territories where mythologies, ancestral women's knowledge, and popular cultures carry memory and care.

My practice spans painting, sculpture, installation, performative works, and experimental writing — all operating in the in-between: between the material and the invisible, the personal and the collective. It is rooted in the accumulation and gleaning of symbolic materials — water, salt, sugar, lead, fabrics, photographs — and of interrupted forms of women's knowledge: pottery, weaving, oral poetry, food recipes. These elements become living archives, connecting humans and non-humans across multiple temporalities and spaces.

What I am exploring is an act of transformission: transform in order to pass on, and pass on by transforming. Through the mythological Amazigh figures of Anzar (god of rain) and the ogress Teryel, my research opens onto ecofeminist perspectives on the relationships between bodies, territories, and the forces of life.

Each work engages in a process of désarchivage (unarchiving) — reactivating what has been erased, activating non-archived gestures, objects, and figures as alternative forms of knowledge. My aim is to recompose the memories of the invisible into neo-rituals that reveal possible futures.

‍Anysia, March 2026