Whether we sit on them, climb on them, dance on them, bury them under clothes, tuck them under the table, or leave them in a corner, chairs are an inherent part of our daily lives. And if we think about it, they are almost as essential to the body as the oxygen we breathe.

When our feet, arms, and back are weary, they lend us theirs, like so many bodily extensions with which we weave extraordinary intimate relationships.

It is precisely this intimacy that Etat d'Homme sought to explore with its photographic project "Les Chaises," this strange silent dialogue between flesh and matter, these improvised or arranged choreographies between man and object, this opposition between the flexibility of one and the rigidity of the other, which can only end in fusion or destruction.