Everything must change so that nothing changes, 2026

It is a unique work. Oil on canvas.
Hand-signed by the artist on the back. A certificate of authenticity is included. Available at the Geneva depot.
Dimensions : 80 x 100 x 1.5 cm

Everything must change so that nothing changes, 2026
The painting opens onto a silent, almost motionless landscape, suspended outside of time. At its center, the mountain transcends its mere geological presence, revealing an uncertain apparition, less a pareidolia than a figure in remembrance, on the border between the visible and projected memory. A cheetah can be discerned there, not as a living being but as a vestige of form, a survival inscribed in matter. No animal life, only traces, remains.

In the foreground, absence is insistent. An oracular figure has vanished, leaving only perceptual vestiges, as if revealed after the fact. There was a voice; now only emptiness remains. Not silence, but a loss of legibility.

The painting doesn't ask what the future will be; it casts doubt on whether the question even arises. To predict from vestiges is to read in what is falling apart. The frozen cheetah promises nothing; it persists, a form without a world.

The tension of the Gattopardesque is not a paradox but a discreet political logic: changing forms to preserve what does not change. Or perhaps the reverse: displacing vestiges to render invisible what disappears.

It is within this context that the famous political and historical formula is situated:

“Se vogliamo che tutto rimanga come è, bisogna che tutto cambi! »
Giuseppe Tomasi di Lampedusa, Il Gattopardo (1958)

The word "Anthropocene" describes the era but doesn't illuminate its outcome. If everything must change, is it to survive or to perpetuate a regime of erasure in a different way? Any transformation that fails to grasp its true nature only produces new remnants.

The painting then does not answer, it insists. Like a sentence that nothing exhausts, it reiterates a political question: what remains of a world that changes without transforming, and what becomes of it if the transformation itself is only a mask of the same.