The Elysées, 12 x 7 m. Collections of more than 350 Bic pen drawings. Digital file printed on tarpaulin. Fixed on the “L’Agora” performance hall in Bonneville, Haute Savoie. Achievement 2024/2025.

While our bodies find themselves formatted and flattened by screens, the performing arts resist to keep us free and dreamy, in short, human. From accumulation to Arte Povera, from pure drawing to digital techniques, this work is part of the heritage of art history. It is made from the accumulation of more than 350 drawings of body parts, of which we can sometimes guess the contours of a smartphone screen. They are drawn with a Bic pen and digitally superimposed on each other to evoke a host of dancing characters, in freedom and joy. This work is a reflection on the formatting of the image of our bodies by the hegemonic hyper-power of smartphones and social networks. On screens, our bodies are constrained, filtered, faked, judged, commercialized, formatted. In this immense fresco, Alice Laverty wishes to restore freedom to our corporeality. Starting with the creation process itself, which highlights the hand, this precious tool which makes us human and makes “the artist”. The work also questions the unhealthy accumulation of images and videos on our cell phones and on servers, contributing to the worsening of global warming. Yet this work celebrates the life and vitality of Bonneville’s performing arts scene. And in order to further inscribe himself in the territory and in real, and not virtual, life, the artist involved residents of Bonneville and artists who came to perform on the Agora stage, from which we can distinguish a few “selected pieces”. Faced with artificial intelligence, this work defends the intelligence of our bodies and our souls. Art is a resistance to remain free.