The muse as a gateway to the imaginary
Sculpture and Virtual Reality
In collaboration with performer and singer Kelly Mézino, we revisit Man Ray’s iconic photograph Le Violon d’Ingres, which depicts the back of Kiki de Montparnasse adorned with violin f-holes.
In this digital artwork, we engage the senses of touch, sight, and hearing to recreate the intimate connection between the artist, the model, and the viewer. Equipped with a virtual reality headset, the spectator is invited to gently caress a silicone cast of Kelly Mézino’s back, embedded with pressure sensors.
Through the headset, each gesture modulates the behavior of her digital double: depending on the nature of the touch, the virtual body responds by singing, and animated tattoos begin to bloom across her back.
In doing so, the symbolic and sensual power of the original photograph is transformed — the woman’s body becomes not only an image, but an instrument.
Model or Muse?
When Man Ray looks at his muse Kiki’s back, what does he see? A back? A violin?
What, then, distinguishes the model from the muse?
What does the artist see when gazing upon their model — or creating an artwork?
The beauty of a body? Or something beyond?
“Amusique” is part of the Kellynoïde project, a series of digital artworks exploring the creation of a virtual actor — the Kellynoïde — the Double-Other of the multifaceted artist Kelly Mézino, at the intersection of art, technology, and the imaginary. Alongside “Line”, another piece centered around the Kellynoïde, “Amusique” continues our quest to merge traditional art with technological innovation.
Inspired by Man Ray’s Le Violon d’Ingres, “Amusique” pays tribute to Kiki de Montparnasse — not merely as a model, but as a true gateway to the imaginary. Through this work, we aim to show that the muse transcends the role of the model, becoming an inexhaustible source of creativity and reverie. By integrating interactive and immersive technologies, “Amusique” invites spectators into a unique sensory experience, where art and virtual reality converge to shape dreamlike and surreal worlds.
From Digital Sculpture to 3D-Printed Flesh
We began with a posing session with Kelly to ensure we were fully aligned on the posture and expression of Amusique. This step was crucial to capture the essence of our artistic vision. Once the pose was defined, we initiated the first modeling tests using Taupipeline, which integrates software such as Blender, ZBrush, and Houdini. These tools allowed us to create a detailed 3D representation that remained faithful to our initial concept. This modeling phase was essential in bringing Amusique to life and preparing the next stages of the project.
After finalizing the 3D modeling, we proceeded to 3D print a figurine of Kelly Mézino, as well as a first version of the “Amusique” bust — the one that the public will be invited to caress. This PLA-printed version allowed us to concretely visualize the piece and make the necessary adjustments.
In parallel, we created computer-generated images of what the spectator would see, in order to document each step of the process and ensure fidelity to our artistic vision. These visualizations were essential in refining details and preparing the final version of “Amusique.”
After finalizing the first 3D-printed version and the reference images, we produced a life-size print of the bust mold. This step allowed us to create a silicone skin, simulating the realistic texture of human flesh. This process was crucial in giving “Amusique” an authentic and tactile appearance, enhancing both immersion and interaction with the piece.
Sensors and Arduino Integration
To make the surface of “Amusique” tactile, we embedded pressure sensors connected to Arduino modules. These sensors are designed to perceive the caresses that spectators will offer to the silicone sculpture. To integrate the electronics optimally, we reprinted the internal structure of the bust with specific accommodations. This inner framework is then covered by a layer of silicone, simulating the texture of human skin while embedding the pressure-sensitive elements. This innovation enables a unique and immersive interaction between the artwork and its audience.
The Shared Imaginary
Immersion and Virtual Reality
The idea that Kelly Mézino and I have developed is to turn the muse’s body into a passage to the imaginary. We use virtual reality as a means of traveling through dreams and imagination. To this end, we have created interactive environments, controlled by sensors embedded in the back of the silicone bust. These sensors allow spectators to traverse events ranging from a direct homage to Man Ray’s photograph, to universes inspired by De Chirico, Magritte, or Prévert. This immersive and interactive approach transforms “Amusique” into a unique experience, where the muse becomes a gateway to dreamlike and surreal worlds.
nteraction and Touch
The immersion offered by the virtual reality headset allows the spectator to experience a surreal dream-like journey. This 360-degree interactive perspective, combined with the materialization of the spectator’s hands through a Leap Motion sensor, enhances the sense of reverie. Spectators can interact with the virtual environments we have created, navigating through worlds inspired by De Chirico, Magritte, or Prévert. This technology transforms “Amusique” into a fully sensory experience, where the imaginary takes on a tangible and immersive form.
NTAa’25 Zebrastraat Ghent
“Amusique” is presented at Zebrastraat in Ghent, Belgium, as part of NTAa ’25 — an exhibition celebrating the intersection between surrealism and artificial intelligence, running from February 20 to June 8, 2025. It is one of 22 selected works curated by Thierry Dufrêne.