The installation A room for a private event or a stage for a public drama consists of four platforms made of wood, glass and mirror and three metal plates with a cut out pattern. The work looks at the notion of staging or the mise en scène of images, fantasies and objects.

The four platforms are situated somewhere between a stage, a display, and a domestic object like a living room table, whereas they remain dysfunctional and display barely anything or nothing. Instead, the platforms strangely exist by themselves, suggesting the idea of a scene or a type of performance that can be projected onto them.

An all wooden stage has two metallic handels, that suggest a bodily interaction that is kept unknown. The slick material of the metal handels leaves room for fantasies in relation to bodily fluids and touch. A red tie lays on one of a handles like a forgotten item, or a trace of a recent event.

The two smaller platforms are closed with a smoked glass on the top, making visible what's underneath it without it being completely revealed, similar to having access to a secret or the unconscious, hidden memories or dreams.

The objects in the installation are found or collected objects from the everyday that might or might not take a symbolic meaning. They convey something spiritual and emotional, making one think of fictive personas that could have inhabited them or to whom the objects belonged in their previous life. Found objects have often something familiar and strange at the same time, keeping the mystery about their origin and stories related to them.

The metallic plates portray industrial production processes and remind us of bureaucratic decor like magnet boards or lockers that we usually find in a work environment but also in schools and in the institutional context in general today. They have been cut industrially with motifs that reference divinatory practices and esoterism, thus proposing a spiritual reading of capitalist reality and questioning the capitalist ideology as the dominant ideology of today.

The fourth stage with a large mirror surface remains empty on first sight, until one discovers its reflection of the ceiling of the industrial building, like a deep pool filled by wires and metal structures which symbolically reflect the backstage of the institution.