Drawing has always been central to Boris Labbé's life.
He is looking for several ways to express this material, to make it " overflowing, crackling, crackling, proliferating, living" using several processes: from classical drawing to 3D animation, and from virtual reality to scenography and video installation.

In this exhibition Ito Meikyū (formula invented from a collage of two words: ito 糸 which means "thread" and, meikyū 迷宮 which means "labyrinth") / Thread of wandering, the artist is inspired by what surrounds him, what he feels, what is not expressed.
He offers the viewer a wandering among these Things that emerge from his mind, without necessarily any link, and that appear to consciousness in a life journey.

The artist is guided by his moments of life, his travels, his encounters and his readings, in particular by classical art and Japanese literature. Her creative process echoes, among others, two major authors of the eleventh century, such as Murasaki Shikibu and the different scenes she imagines in the story of the Tale of Genji, or Sei Shōnagon in The Bedside Notes, with the "Things" listed in her diary with the "thread of the brush" of the feelings and emergences of her mind. Boris Labbé is also attached to the typical motif of traditional Japanese painting, The Fukinuki Yatai Technique

(translated as "roofs torn off by the wind") which represents the interior of a building, seen from above, without a ceiling.
Through this composition, he explores the multiplicity of points of view, the interconnected narrative relationship, the almost encyclopedic panoramic vision, and the issues of associating geometries, motifs and characters.

The exhibition proposes to follow a continuous and impalpable thread between his works, which, like a labyrinthine path in his mind, takes the viewer into a loop, from drawing to virtual reality... and from virtual reality to drawing.
Words become lists, drawings become collections, their spatial arrangements become volume and architecture then deconstruction, and their multiplications become movement and repetition.

The work is indeed there: there is never an end, in the movement as long as life is there, as long as Things emerge from thought, then everything can be, and everything can begin again.

"Interior and exterior, transparency and opacity, exhibitionism and voyeurism, lightness and heaviness, feminine and masculine; All these notions oppose or unite in the infinite cycle of a labyrinth with no way out. »