Ma chaise

“The chair is deliberately empty. It holds no body, but acts as a silent witness.”

This project began with a chair salvaged from a family member: a worn, ordinary object, initially perceived as interchangeable. At the start of the process, I called it the chair: a found object, neutral, almost anonymous. It was through transformation and displacement that this relationship shifted, until it became my chair.

The chair is partially covered with a traditional Moroccan fabric, khrib, a textile charged with symbolic and cultural value, often associated with domestic spaces, ceremonies and family transmission. The gesture is not decorative: it is an act of repair and infiltration. The fabric does not conceal the object; it grafts onto it, leaving visible the traces of wood, wear and time. Two materialities, two histories, coexist without hierarchy.

The diptych presents the chair in two opposing contexts: a domestic interior and a public urban space. In the first, it belongs to an intimate, luminous space inhabited by hybrid cultural references. In the second, it is displaced into the nocturnal space of the city, surrounded by standardized, industrial chairs. This displacement sets the singular object in tension with a normalized environment.

The chair is deliberately empty. It holds no body, but acts as a silent witness. It becomes a place of projection, a displaced presence that questions notions of belonging, territory and visibility. This infiltration project thus explores how an object charged with intimate history can circulate, resist or blend into different contexts, while retaining its singularity.