For the 12th edition of Paris Internationale, Pequod Co. presents a project featuring works by Elsa-Louise Manceaux and Andrew Roberts. The selection brings together two distinct bodies of work that share a common concern in the construction of narratives in the present: how they are edited, how they take shape, and how they circulate.

Manceaux presents a group of three panels whose surface features a technique of embossed in gesso and raw canvas that the artist has been developing for several years, exploring the relationship between background, covering, information, and material. Drawing on the themes explored in her solo exhibition Voice Notes at the Museo Jumex, the artist approaches painting as a system for recording and translating contemporary experiences. Her panels function as platforms where textures, ghostly signs, and structures characteristic of the digital sensibility converge—a way of inhabiting the pictorial medium through lived experiences and relationships.

On the other hand, Roberts’ body of work includes puppets brought to life through songs composed by the artist himself, who constructs a series of narrative worlds in which the logic of entertainment—particularly horror films and video games—becomes a critical device.

The booth thus serves as a space where Roberts’ speculative fiction and Manceaux’s documentary sensibility come into dialogue. At this intersection, both practices converge in an interest in what might be understood as a form of digital craftsmanship, revealing images that function as traces of technical processes operating on their own—something that insists on appearing, though never in its entirety.