Cécile Paris focuses on image and sound’s fictional potentials. The city and its culture is, for her, a playground to explore, experiment and invent. She digs in so-called popular forms to develop a real work of sampling in a musical meaning. Playing and replaying her Western culture heritage, she questions the (de)construction of identity. With a proper aesthetics, a sense of energy generated by sound and image, Cécile Paris’s work deals with micro-narratives engaged with her personal reverie. As in a song, a chorus made up of images, Cécile Paris offers a personal vision of a world teinted by something romantic mixed with a hidden rebellion.

Exhibiting, in a proper whitecube space, can be a challenge for the artist whose spheres of expression and experimentation willingly stand at the margins of conventional channels of the presentation of art, perhaps considered too "disconnected" to the realities of the world. Yet at Passerelle Centre d’art contemporain, Cécile Paris chooses to include new productions, always built in the interval between experience and pure poetry, in a history of her own practice. Conceived as an installation accompanied by what turns out to be her first major publication on its practice until today, Conduire, danser et filmer replays and thwarts earlier pieces like symptoms of her production-motor. In other words, Cécile Paris hits the road while keeping an eye in the rear mirror.

The exhibition combines videos, installations, photographs and collages in a total environment in which each piece becomes both an item and an artifact.

Pursuing her collaborative methodology of work, Cécile Paris brings companions to Brest such as music composer Renaud Rudloft and artists Florian Sicard and Frédéric Vaësen.  Renaud Rudloft composed the melodic line of the central video piece in which Florian Sicard drives a car while Frédéric Vaësen station parks his NMH Nouvelle Machine Habitable in front of the exhibition.