The raw earth allows Laurent Nicolas to take impressions of corners, door frames and also windows in situ or decontextualised. These are spaces that are not given much consideration, appearing as simple elements of the architecture. The artist uses these "spaces", which he calls trans-sites, to assert the idea of an interior and an exterior even when the elements are out of context. These evoke the timeline that governs the evolution of things - past, present and future - and why not the thin gaps that slip through. This passage to another place, to another temporality, reveals an unknown facet of existence. Faced with an increasingly present architecture, Laurent Nicolas tries to play with its erasure. During his travels, he photographs numerous places, such as the entrances to public or private buildings. The collages of these images create new kaleidoscopic spaces or false symmetries, like mirrors that are not mirrors. By blurring the tracks concerning the origin of these places, Laurent Nicolas draws directly on them, unifying them through a new geometric common language: in trompe-l'œil, this graphic veil is reminiscent of the complexity of our architectural and social environment.
