Fanatic of the chisel and the photo, Cyril Hatt seems to take a certain pleasure in playing with our perception of volume.

Since 1999, he has been carrying out work in which photography, considered as a material, undergoes a series of diversions. Thus, his images are fragmented, shattered or reconstructed, scratched, scratched, torn and "re-stapled". From 2003, appear in its production of photographic volumes. The objects photographed, often inspired by Street-Art, are reproduced at their scale in 3D, after having undergone a series of alterations and montages. They thus tend to recompose "landscapes of images" stripped of their original function, while remaining images from our daily lives. Paradoxically cobbled together and sophisticated, the result is particularly disturbing.

These objects ultimately only have their fragility to offer us, making them sensitive and detaching them from the playful or the anecdote. (1)

After having conquered the peri-urban areas, the wild fauna takes over the shop window and the beautiful neighborhoods. Cyril Hatt revisits the traditional bestiary of La Fontaine's fables and, far from the image of Epinal, reveals to us the vision of a post-apocalyptic urban nature in which animals climb on the roofs and empty the trash cans. The artist pays homage to the tradition of the animal diorama at the same time as he diverts its aesthetic codes and naturalism. The sculptural recomposition of the subjects using digital photographs, the juxtaposition of paper and staples accentuates the humble and grotesque character of the creatures, emphasizes the flaws and the fragility of their wobbly anatomies. Composed in the heart of the mineral and bourgeois city, this bestiary is all the more unusual, moving in its induced imperfections.

(1) extract from the text by Nicolas Rosette