For the love of meat



fortheloveoffood8 fortheloveoffood7
I came upon a documentary called “Did cooking make us human”. It is about a scientific theory that says the human species began to evolve when they began eating meat, and then, began cooking.

Among the scientific community, it is accepted that the introduction of meat in our ancestor’s diet increased their intelligence and caused their brains to grow.
Indeed, meat has a more concentrated form of energy that allowed our ancestors to spend less time looking for food. This energy was used by their body to evolve by an augmentation of their brain size and therefor, their intelligence.

The performance “For the love of Meat” during For the Love of Food was made to interrogate the viewer about diet habits.
After eating fruits using a stone, I stood up, fetched a steak in the fridge and ate it with my bare hands. As I teared the meat apart with my teeth, masticating, I watched, one after the other, each person in the crowd for a few seconds. Those eye contact were reinforced by the power of the savage act of eating raw meat with my hands. In those eyes, I saw a mixed feeling of fascination, disgust for some and attraction or even erotic tension for others.
The act of eating meat is a reminder of our common ancestors’ way of eating: hunters, meat eaters.
However, eating meat felt like doing something extreme, almost subversive.
After it, most people said they were afraid for me, pitied me for inflicting myself such a task and asked if I felt sick.

How did eating meat became a subversive action that make people feel sick and guilty?

In France, where the gastronomy is part of everyday life, eating meat is a celebration. When I was a kid, it was always chicken on wednesdays, fish on fridays, and a roastbeef on sundays. Christmas is a feast for meat and seafood eaters, with oysters, smoked salmon, lobster for starters, foie gras, the utmost sin, followed by a main dish, often goose, wild boar, duck, deer, or other game. Then, the most fantasied cheese platter than make us french so famous.
When you go in restaurant, you choose your meat or fish and then the side dish.
One of my favorite meal is a basic omelet with raped chesse, cream and “lardons”, small smoked pork sticks…
Am I a monster to those who pledge their life to veganism? Am I the enemy? Am I to be converted?

There is so many ways to eat, to cook, to live. I am a meat eater. I respect other people’s choice, but I don’t think I’ll ever go vegetarian, let alone vegan. If one day, we cannot buy animal products anymore in markets for ethical, economical or ecological reasons, I’ll raise my chickens in my yard and get a cow for milk.
Maybe I’ll start a black market, and people will come to my house to buy eggs under the counter. They will have to pay me a lot for the risk I am taking.

In the meantime, I will still get that judging look from my vegetarian friends whenever I go out eating with them and take the meat option.

Le Banquet / The Feast

La Poulette présente: J’ai toujours eu envie de faire un Banquet!

The Chick presents:  I always wanted to make a Feast!

Un Banquet tout à fait spécial…

Une bataille de nourriture organisée, où une trentaine de personnes se sont affrontées pendant trois minutes courtes mais intenses.

Pourquoi? Parce qu’on a jamais pu le faire au RU, parce qu’on préfère ne pas le faire avec ses parents, parce qu’on a pas le courage de l’organiser soi-même, parce qu’en général il y a seulement de la chantilly, parce que c’est vraiment drôle et parce que j’ai toujours eu envie de le faire.


Image: Le Baquet dans la pinède – Sandro Botticelli, The feast in the pinewood – Sandro Botticelli

A quite special Feast …

A food fight organized with care, with around thirty persons faced each other for three short but intense minutes. 

Why? Because we were never able to do it in the cafeteria at uni, because we wouldn’t do it at home with parents, because we don’t want to organise everything, because there’s most of the time only whipped cream, because it really is fun and because i always wanted to do it. 

Une performance participative, le 19 octobre 2011 aux Prairies Saint Martin à Rennes

A participative performance, 19th of october 2011 at the Prairies St Martin, Rennes




La Poulette présente: Syphilis. Virus. Comme un puzzle, un texte inconnu de tous, fait pour et à travers toi, qui se répand et n’appartiendra qu’à toi. Une bouffée de chaleur.

The Chick presents: Syphilis. Virus. Like a jigsaw, a text unknown to all, made for and by you, spreading thanks to you and that will be yours. A hot flush.

Cette performance a été présentée à la MJC du Grand Cordel à Rennes.

Chaque personne présente recevait dans le creux de son oreille une phrase dite par la Poulette. Ces phrases, à connotation sexuelle, permettaient de répandre dans la salle une atmosphère particulière. Une ambiance ambiguë de malaise et de rires étouffés, entre excitation et gêne.

De plus chaque spectateur se retrouvait maître des traces de la performance: garder sa phrase pour soi, comme un cadeau secret, ou la partager avec ses amis, ses voisins de performance, …

Il y a plus que tout le choix de faire tomber la barrière entre l’artiste et le spectateur, en créant un lien fort et direct. Une phrase partagée et peut-être déjà oubliée, mais qui permet le contact un court instant.

This performance happened at the MJC Grand Cordel in Rennes, the 14th of april 2011.

The Chick whispered a sentence in each person’s ear. This sentence, with sexual connotation, allowed a strange atmosphere to spread in the room. An ambiguous ambiance of uneasiness and suppressed laughs, hesitating between excitation and embarrassment.  

Moreover, each spectator took control over the performance’s traces: keep the sentence for himself, as a secret gift, or share it with his friends, his performance’s neighbours…

The choice of distroying the gap between the artist and the member of the audience is made to create a strong and direct link. The sentence is shared, and maybe already forgotten, but for a short moment contact is made.

avril 2011

De Sang Froid / In Cold Blood

La Poulette présente De Sang Froid

The Chick presents In Cold Blood

Le frottement des glaçons contre mon corps chauffé par le stress, la pression de la performance.

Un corps accélérateur d’énergie. Un élément qui perturbe un phénomène naturel grâce à une action. Défier l’entropie.

Aussi une manière de condenser cette pression dans un geste mécanique. La peau est rougie par le froid et le corps se réveille de sa torpeur pour être à l’affût.

Une flaque au sol.


The rubbing of ice cubes against my body, heated by stress and pressure of the performance.

A body accelerator of energy. An element interfering with a natural phenomenon by the way of an action. Challenging entropy.  

Also a way to condense a pressure in a mechanical gesture. The skin is reddened by the cold and the body awakes from his torpor to be on the lookout. 

A puddle on the ground.

Présentée au DNAP le 23 Juin 2010/ Shown at the DNAP, 23rd June 2010


La Poulette présente: Comment faire une performance en cassant des oeufs? 

The Chick presents: How to make a performance breaking eggs?

Cette performance est le manifeste de la Poulette. Une Poulette, des poulets, des oeufs.

Des talons, des plumes, des pois. Une féminité crue et violente, une attitude de défi assumée, une envie de détruire sans justification.

Cette performance part d’un désir et annonce la suite de mes projets autour du défoulement et du plaisir.

oeufs2 oeufs

This Performance is the Chick’s manifesto. A Chick, chickens, eggs.

Heels, feathers, dots. A crude and violent feminity, an unapologetic challenging attitude, a way of destroying without giving justification.

This performance comes from a desire, and announces the following projects around cathartic actions and pleasure. 


Dédicace à Sophie Delpeux et son livre, Le Corps Caméra, éd. L’écriture photographique

La Poulette présente: une performance éclairée, un ballet autofilmé.

The Chick presents: an enlightened performance, a self filmed ballet.

Cette performance était un essai pour un futur spectacle. Je me filme moi-même grâce à une caméra accroché à mon ventre, dans le noir. Je recouvre mon corps de pâte fluorecente. Du noir total apparaît petit à petit des morceaux de mon corps en lumière blanche. L’espirt fantomatique et onirique de la performance est appuyé par la musique de Machin et Machin.

This performance was a try out for a future show. I was filming myself thanks to a camera fastened to my belly, in the dark. I’m covering my body with fluorescent paste. From blackness appears little by little bits of my body enlightened with a white glow. The fantomatic and oniric spirit of the performance was underlined by the music of Machin et Machin.


Symphonie pour un défoulement / Symphony for a release

La Poulette présente: Symphonie pour un défoulement. 

The Chick presents: Symphony for a release.

Aboutissement des premières performances réalisées de 2009, Symphonie pour un défoulement regroupe les éléments utilisés auparavant: ballons, ampoules, assiettes.

Le but est de faire ressentir au public un acte d’énergie pure, et de créer un mélange de sentiments forts, de l’envie à la peur. Le son est ici aussi important que l’impact visuel.

défoulement2 défoulement1  défoulement4 défoulement5

Outcome of the first performances of 2009, Symphony for a release uses all the materials already used: balloons, bulbs, plates.

The aim is to make a link with the public through an act of pure energy, and create a strong mix of feelings, from fear to envy. The sound is here as important as the visual impact.


Ampoules / Bulbs

La Poulette présente: Ampoules.

The Chick presents: Bulbs. 

Cette performance est inspirée du travail de Niki de St Phalle Les Tirs. Voici ce qu’elle déclarait alors: « Il existe dans le cœur humain un désir de tout détruire. Détruire c’est affirmer qu’on existe envers et contre tout. »

Le plaisir intense d’appuyer sur la gachette, d’exploser les ampoules dans la nuit jusqu’à se retrouver dans un noir d’encre. Le son de l’explosion, la fumée qui s’échappe de l’ampoule éclatée donne au geste une atmosphère poétique.


The performance is inspired by the work of Niki de St Phalle The Shootings. Here is was she declared then: “There is in the human heart a desire to destroy everything. Destroying is affirming you exist above everything.”

The pleasure of pulling the trigger, burst the bulbs until finding yourself in an ink-black night. The sound of the explosion, the smoke escaping from the exploded bulb gives to the gest a poetic atmosphere.


Assiettes / Plates

La Poulette présente: Assiettes.

The Chicks presents: Plates.

Cette performance est ma première réalisée à l’école des Beaux-arts de Rennes, en privé.

Je commence ici ma réflexion sur le défoulement, en jetant contre un mur de bois et de mousse des assiettes jusqu’à la destruction totale. Le mur absorbe les chocs et retransmet l’énergie à travers les traces des impacts. La réflexion sur l’entropie est ici développée: si tout est voué à être détruit, comment considérer une action qui accélère ce processus?


This is the first performance realised at the School of Fine Arts in Rennes, in private.

I start here my reflexion around release, throwing against a wooden and foamed wall plates until total destruction. The wall absorbs shocks and traduces the energy through the traces of impacts. The reflexion on entropy is here questionned: if everything is to be destroyed, how can we consider an action which accelerate this processus?