During a residency organized by the GwinZegal Art Center, the artist couple Cécile Hesse and Gaël Romier continued their creative work in Brittany. The relationship between the two artists is not new, since they have been working together for around twenty years already. Their previous work could suggest that their place of life, or work, has no influence on their work, as their imagination seems free of any context. This is not the case: they found in the foreshore of the coasts of northern Brittany the perfect theater for their actions. No need for a curtain for this immobile representation, it is the tide which will cover the scene daily, erasing the traces of their passage, which, like the dream, in this mixed sensation between the pleasant and the disturbing, makes us doubt for a moment the border between reality and dream. The choice of the foreshore is not insignificant, on the border between two worlds, land and sea; one material and restricted, the other inviting to an elsewhere linked to cosmic forces and carrying a reverie which touches on the origins of being and the world. No human figure clutters these landscapes, where we read at most a few hybrid forms at the edge of the animal, mythology and the plant - like the character of the headbanger, who, frozen in his movement, silently evokes the gesticulations of an angry octopus or the foliage of an exotic plant. From this setting of the foreshore, usually so spectacular, we can only see the immaculate sandy ground. The artists have in fact chosen to operate at night, in the darkness, clandestinely, as if to commune in this feeling of uncertainty and subjectivity, familiar to the first men, and conducive to fleeting apparitions. The production of Hesse & Romier's images is the result of meticulous staging: location scouting, preparatory sketches, casting, lighting... The objects are chosen for their plasticity, their material, their strangeness... Nothing seems left to chance. Yet, beyond the symbols that we are allowed to decipher, something in their images still resists the analysis of both the viewer and their creators — and sends us back to ourselves, to our history, to our fantasies. The juxtaposition of objects, signifiers and situations builds the foundations of a new Tower of Babel. It is in this shift that Cécile Hesse and Gaël Romier define barbarism: when images take power, when they express themselves and challenge us in a foreign language, and when they exist (and are born) in a universe of their own, governed by an order or a chaos that escapes us.