The “sculpture-furniture-objects” by Nathalie Elemento (b. 1965) confront us with the idea of the inner self as an intimate landscape or psychological construction. When placed in specific situations, her deceptively familiar-looking works express mental attitudes. Domestic objects structure not only our space but also the limits of our bodies and the world of our ideas. They thus serve as a screen for the projection of our anxieties and malaises. With echoes of Giacometti and Malevich, of the minimalism of Sol LeWitt and the literary worlds of Sartre and Beckett, these works seem to effect a strange psychoanalysis that puts us in phase with our environment. Halfway between a bourgeois universe and a fairy story, the viewer is face to face with a secret presence that animates these incongruous objects.