Is Jean-Michel Fauquet's studio a sculptor's, or a cabinet of curiosities? Masses of corrugated cardboard coil and uncoil like a wave before turning into miniature sculptures, objects with no practical use or known model, or giant chrysalises hung from the ceiling; Tutankhamun's tomb could hardly be more bewildering. For Fauquet the shooting is an intermediate phase in making the work: figures, bridges, houses and utensils of mysterious purpose first exist virtually in the dry, austere cardboard he shapes. Graphite pencilling that supports the print gives them the patina of ancient objects found in dust or peat, while the wax glaze applied to the print lends it a painterly, tactile, sensual quality no reproduction can render. His sketchbooks of machines without determined function recall those of Leonardo da Vinci. Text by Anne Biroleau.