Lacérer la bite à coups de cutter

In 2018, 86% of French women reported having experienced sexual assault or harassment in the street. This perpetual violence is internalised by many women who endure their exclusion from public spaces, exclusion from the social domain. Their bodies, however, are overrepresented in mass media. Whether in advertising or entertainment, women are constantly reduced to objects of desire, hypersexualised. This representation creates an association in men between arousal, pleasure, desire, and product. Women are seen as objects of constant desire, expected to meet specific standards. They cannot move through public spaces without being reduced to their status as objects of desire by men. Most men do not even consider that she might not want to interact with them. This constitutes both physical and verbal violence, a form of sexist and sexual harassment that leaves half of the world's population in a state of constant insecurity. Meanwhile, the other half wonders why they can no longer "hit on" people in the streets in 2022.

This work explores aesthetic possibilities while questioning and challenging the issues mentioned above. The artist plays with words: each painting features a sentence or testimony, but the viewer must search for it. Repeated confrontations with the artist’s work allow viewers to recognise patterns. Like a scavenger hunt, the viewer seeks out meaning and letters, trying to piece them together. This process creates distance; the attitude feels off, considering the violence of the testimonies. The paintings are colourful, almost joyful, almost a game. The work addresses the societal normalisation of violence against women.
The title is a quote from the book King Kong Theory by Virginie Despentes.