Thanks a lot!

Close-up of a graphite drawing in progress. An artist’s hand uses a mechanical pencil to refine a tall, detailed tower surrounded by dense, layered architecture. The structure rises from a fragmented landscape with floating rock formations, suggesting a surreal, unstable world. Fine textures of graphite and paper are visible, highlighting the precision and depth of the work.

Mapping the edges.

Some towers don’t belong to the center…
but they still hold something.

Thank you very much 🙏

I used a brown patina to create the shadow (Kölner permacoll patina)! Thank you!

Thank you! I hope you enjoy it when the time comes

I can't wait!

Les Chants de l'Aurore Oil and gold leaf painting depicting a young woman playing a flute in a twilight landscape, surrounded by large blue-grey cranes in flight and at rest. A luminous golden disc rises behind her, framed by tall slender trees fading into mist. Warm ochre grassland, soft atmospheric depth. Cover art for Alcest's Les Chants de l'Aurore.

Portrait of Neige Photograph of a long-haired man seated among sand dunes and dry grass, facing sideways toward a misty coastline. He wears a dark draped garment and holds one hand near his neck, in a contemplative pose. Overcast sky, desaturated tones. Portrait of Stéphane Paut (Neige), musician and founder of Alcest.

The Labyrinth will have a voice.

Stéphane Paut (Neige, Alcest) will compose its music.

Some collaborations don't end. They find a new threshold.

Les Chants de l'Aurore — this cover I painted for Alcest two years ago.

(Photo 2: Neige by Yohan Terraza)

I thought the edges would hold.

But the closer I got to the center,
the less it behaved like a map.

It doesn’t collapse.

It shifts.

Before Labyrinth had a name, it already existed.

Les Jardins de Nuit
Mixed media and gold leaf on paper, 2020

Thank you ⭐️

Thank you!

Labyrinth — Cartographer’s note

I wasn’t supposed to paint this one.

It wasn’t just a refuge.
It held something.

We found it.
We stayed there, for a while.
Maybe too long.

High in the trees,
it was already changing.

We saw it begin to slip away.

So I kept it here.

Not as a place,
as a memory.

I'll keep that in mind...

I like that image.
A light that shows just enough.
The rest isn’t meant to be fixed, only crossed.

Thanks a lot!

There’s something true in that.
A map that shifts with the one who looks at it.
I’m just trying to stay close to that movement,
without fixing it too quickly.

I like that.
Letting it spill instead of trying to hold it.
Maybe the map only starts to make sense
when it stops pretending it can contain it.

Cartographer’s note:

At first, I was just painting around the map.
Trying to keep things contained.

But the edges don’t hold.

Each circle shifts the balance.
Not enough to see it.
Enough to feel it.

The Labyrinth isn’t drawn.

It reacts.

How would you map something that refuses to stay still?

Close-up of a detailed hand-drawn map in progress on textured paper. Several circular frames contain intricate scenes of the Labyrinth, including a dense, vertical city of towers, arches, and stairways suspended in space, with bridges and layered architecture. Below, another circle shows a distant rocky landscape with two small figures. A hand holds a fine brush near the drawing, adding delicate details. The style evokes antique cartography with soft tones and precise linework. The map is unfinished, with empty space around the circles.

Fragments of the Labyrinth.

You don’t find them.
You arrive as they emerge.

Each circle reveals a place.
Each place shifts as you look at it.

The map is unfinished.
Because the world keeps moving.

Thank you!

I’m drawing a map of the Labyrinth.

The problem is
no one has ever mapped it completely.

Every path changes.
Every map is only an attempt.

This is mine.

#labyrinth #mapmaking #darkfantasy #worldbuilding #artprocess

Oil painting on paper titled The Love of Bastet (2022). A dark, symbolist-inspired scene referencing Böcklin and Ferdinand Keller. At the center stands a stylized feline goddess figure, upright and frontal, framed by deep shadows and architectural elements reminiscent of a tomb or sacred threshold. The palette is muted, with warm browns and greens. A decorative gold ornamental border surrounds the composition, filled with intricate intertwined motifs blending Egyptian-inspired lotus shapes and Nordic-style animal forms. The gold leaf catches the light against the darker tones of the painting.

Details of 'The Love of Bastet'
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Oil painting on paper titled The Love of Bastet (2022). A dark, symbolist-inspired scene referencing Böcklin and Ferdinand Keller. At the center stands a stylized feline goddess figure, upright and frontal, framed by deep shadows and architectural elements reminiscent of a tomb or sacred threshold. The palette is muted, with warm browns and greens. A decorative gold ornamental border surrounds the composition, filled with intricate intertwined motifs blending Egyptian-inspired lotus shapes and Nordic-style animal forms. The gold leaf catches the light against the darker tones of the painting.

The Love of Bastet — oil and gold leaf on paper, 2022
Final version.

A tribute to Ferdinand Keller and Böcklin.

Bastet waits. The rest happens in the gold.

Thanks a lot ⭐️

Thank you so much ⭐️

Many thanks!

Thank you very much Joaquin. I love this song!

Thank you very much!

Next step: building the tree!

Thank you so much 🙏