Composite vertical photograph split into two sections. The upper portion shows a workspace with walls entirely covered by printed storyboard sheets arranged in continuous grid sequences, extending across multiple surfaces to form a dense archive. A seated individual works at a desk in the center, with stacks of papers and tools spread across the tabletop. In the corner, a large coiled material resembling tubing or rolled paper rests against the wall, reinforcing the immersive accumulation of visual documentation.

The lower portion depicts a sculptural-mechanical apparatus constructed from metal supports, wiring, and motorized components. The machine incorporates organic bagels mounted onto rods, positioned near a camera-like housing or robotic sensor array. Below, numerous elongated pink tubing elements cascade outward, wrapping around the framework in tangled formation. The apparatus rests on a table among scattered notebooks, pens, and tools, while in the background large painted canvases and wooden supports lean against the wall, situating the setup within a multipurpose studio environment.

Together, the two halves document both the narrative planning and mechanical experimentation involved in fabrication processes. The juxtaposition connects drawn sequencing, dense visual planning, and improvised sculptural robotics incorporating everyday edible forms as structural material.

Vertical triptych showing three stages of a performance or installation setup combining projection, fabric screens, and costumed figure interaction. The top frame depicts a draped black backdrop spanning the width of the space, against which lighter cloth panels are suspended from a wooden pole structure. A humanoid figure in light-colored costume stands beside the hanging textiles, extending an arm toward them. The middle frame introduces projected imagery: the phrase “WALKING BREAD” is cast across the central cloth surface in bold lettering, illuminated in bright cyan and red tones against the darkened environment. Red light floods the surrounding space, intensifying the theatrical effect. The lower frame shows continued interaction between the figure and the suspended cloth, with the projection shifting to abstract shapes and patterns across the black backdrop.

The installation combines static physical staging—wooden support poles, draped cloth, costumed performer—with dynamic light projection, creating layered visual fields where text, pattern, and fabric overlap. Spatial contrasts emerge between the heavy black backdrop and the illuminated projection zones, reinforcing the dual presence of physical material and transient digital imagery. The piece situates itself at the intersection of performance, projection mapping, and experimental scenography.

Rectangular grid composed of twelve sequential frames arranged in four horizontal tiers with three compartments per row, each panel constructed from black-ink outlines, tonal shading, and digital overlays representing humanoid forms integrated into interior environments. Upper left segment depicts enclosed chamber containing angular furnishings including vertical shelving unit, rectangular bed, and compact storage surfaces, humanoid figure occupying corner with cranial outline prominent, head rotated laterally toward structural partition. Adjacent panel magnifies central cranial dome from frontal angle, elongated neck supporting spherical head, background filled with vertical tonal wash suggesting wall surface. Next panel shows linear sofa aligned parallel to bottom frame, humanoid situated centrally with bent legs extending forward, adjacent wall defined by horizontal shading bands. Second row left panel portrays reclining posture across rectangular bedding structure, torso stretched diagonally across surface, limbs elongated beyond mattress edge. Adjacent frame illustrates two overlapping bodies within horizontal bedding environment, cranial outlines intersecting, surrounding texture rendered with cross-hatching to suggest compressed fabric. Final second-row right frame continues theme of resting figure with oversized spherical head dominating composition, torso compressed against cushion, background filled with dense tonal gradients. Third row begins with diagonal intrusion of mechanical object, wheel and axle components pushing into foreground, humanoid head reclined beneath structure while spatial background reveals exterior architectural fragments including windows, vertical facade lines, and shadowed recesses. Adjacent frame introduces overhead cranial outline filling majority of composition, background rendered with diffuse tonal wash, creating impression of proximity and weight. Final third row right panel shows vertical orientation with enlarged spherical head consuming upper half of image, wall gradients transitioning into floor plane, producing exaggerated scale distortion. Bottom row left frame illustrates head in lateral orientation placed within rectangular room, bed structure implied at lower border, surrounding darkness emphasizing volumetric isolation. Adjacent center panel depicts reclining pair, oversized cranial domes pressed together across textured bedding, shadows creating compressed tonal depth. Final bottom-right frame displays humanoid seated near rectangular furniture including table and storage units, back facing observer, cranial outline aligned with upper wall panel. Throughout sequence tonal treatment alternates between stark black shadows, diluted grey washes, and brown sepia overlays, producing layered visual density. Composition emphasizes contrast between simplified spherical heads and angular domestic environments, producing constant juxtaposition of organic curvature with rigid constructed geometry. Figures rendered with minimal identifying markers, lacking facial differentiation, individualized detail, or anatomical specificity, instead constructed through geometric reduction into spheres, cylinders, and truncated masses. Perspective across panels alternates between frontal flattening, lateral foreshortening, oblique angularity, and exaggerated magnification, establishing alternating depth cues. Architectural motifs include bed frames, shelving, windows, facades, storage units, and mechanical wheel components, producing oscillation between interior domestic space and exterior structural intrusion. Sequential arrangement progresses through themes of reclining, overlapping, enclosing, and compressing, situating humanoid forms in persistent relation with architectural enclosure and mechanical intrusion. Material technique combines visible ink hatching, cross-contour shading, and digitally applied overlays to accentuate form, depth, and volume. Overall structure functions as modular narrative grid linking variations of confinement, rest, compression, and architectural juxtaposition through repeated schematic representations of humanoid geometry within controlled rectangular compartments.

Freestanding apparatus constructed from extruded aluminum profiles forming a rectangular structural base supported by four swivel casters with polyurethane treads, each wheel anchored to a steel plate and incorporating a locking mechanism for positional stabilization. At each corner of the lower frame adjustable leveling feet with threaded rods and circular plates provide vertical height regulation and vibration control. From the base extend four diagonal load-bearing beams converging toward a central vertical column, producing a pyramidal truss configuration optimized for distributing mechanical forces. The central support column consists of reinforced aluminum extrusion incorporating linear guide rails and gear-driven assemblies, enabling precision vertical movement. Mounted at the upper section is a motorized gimbal housing with rotary axis, gear modules, and belt-driven actuators allowing controlled angular adjustment of attached payloads. Lateral crossbars connect the vertical spine to peripheral support beams, maintaining rigidity and minimizing torsional displacement during operation. Black enclosures at multiple points house electronic drivers, power regulation systems, and motor controllers, with visible wiring harnesses and bundled signal cables routed downward toward the base where auxiliary green modules indicate power supply units. The cabling is organized through loops, tie-down points, and cable management clips, ensuring separation of high-voltage and low-voltage circuits for operational safety. On the left side a compact handheld remote control unit is mounted, incorporating a joystick, selector switches, and emergency stop button, providing direct operator input for motion sequences. Upper frame crossbeam includes laser alignment markers and safety labels indicating compliance with load and voltage standards.

The structure is positioned on a carpeted floor surface inside a modular exhibition environment characterized by white steel lattice walls, pegboard partitions, and a backdrop containing dense photographic collage panels. Lighting within the enclosure is diffuse and consistent, minimizing shadow interference on reflective metallic surfaces. The system is engineered for transportability and modular adaptation, evidenced by detachable joints, standardized fasteners, and caster-based mobility. Mechanical design suggests application in motion-control cinematography, 3D scanning, robotic automation, or precision positioning of optical equipment, given the integration of truss geometry, rotary actuators, and stabilized mobile frame. Visible tension joints, corner brackets, and gusset plates reinforce the load distribution, while lateral braces prevent oscillatory sway. Redundant structural reinforcement is provided at each corner of the base with steel locking clamps ensuring positional immobility when wheels are disengaged. Electrical integration includes visible grounding points and safety connectors, minimizing risk of static accumulation during extended operation. The vertical column’s robust cross-section and internal guiding hardware indicate capacity for supporting significant payload weight while maintaining fine-resolution positional accuracy. Overall arrangement emphasizes modularity, repeatable precision, and compatibility with industrial or cinematic applications requiring stable yet adjustable positioning systems.

Digital screenshot of website interface structured into three-column format with dark vertical sidebar at left, central main content area, and slim navigation column at right. Site header identifies subject as “Alex Boya” with profile page dedicated to projects and activities. Top of main content column displays horizontal banner illustration in monochrome ink depicting humanoid bust with turbine-like engine head, seated behind bar counter with bottles and shelves, composition framed within architectural interior. Beneath banner, page organizes content into three stacked article previews.

First article titled “Dernier verre avec Justine” features illustration identical to header, paired with text excerpt beneath. Second article presents photographic scene from Festival 2019, crowd of people gathered at Café Court event with Espresso signage visible in background; article caption emphasizes return of Espresso program and festival continuation. Third article highlights portrait of individual in front of abstract colorful backdrop with arms crossed, title reading “Café court – Alex Boya.” Each article preview block includes thumbnail image, bold red title text, excerpt paragraph, and red link button labeled “Lire la suite.”

Right-hand column lists related navigational links and tags, including author name, article references, and thematic categories. Sidebar on left displays structured menu hierarchy: homepage link, thematic categories such as “Actualités,” “Articles,” and “Entretiens,” as well as search bar and social media icons. Footer region of page displays multiple logos of partner organizations, including Telefilm Canada, SODEC, ONF/NFB, Conseil des arts du Canada, and media partners, arranged in horizontal row against dark background.

Visual layout emphasizes clear separation of functional zones through background contrast: dark grey sidebars flanking white central content, red highlights marking interactive buttons and category labels. Typography employs sans-serif fonts for body text and headers, consistent with contemporary web design standards. Images alternate between illustrative artwork and documentary photography, creating balance between artistic representation and event documentation. Overall webpage structure functions as professional portfolio and news archive presenting Alex Boya’s artistic contributions, public events, and institutional associations within structured digital interface.

Image depicts specialized animation and filming setup within studio environment. Central apparatus is animation stand composed of flat horizontal glass surface mounted within rectangular frame. Surrounding frame incorporates adjustable side arms, metallic supports, and precision mechanical components including red rotary knob for control calibration. Beneath glass plane, storage tray and auxiliary compartments are visible, suggesting function for holding artwork or exposure sheets.

Above stand is overhead vertical rig extending upward to mounted camera. Camera is suspended on adjustable axis arm connected to vertical track system, allowing height modification and stable top-down capture of animation drawings, cels, or objects placed on stand. Adjacent to this rig, additional black box housing with wires and mounted device suggests auxiliary control interface, possibly for motion control, camera power distribution, or digital input/output functions.

Lighting system is visible to left, consisting of large studio lamp with barn doors for directional adjustment. Lamp is supported on tripod base, connected to power cables routed across floor. Red extension cord coils emphasize practical wiring required for continuous studio operation. Secondary reflective surface or monitor is mounted at right wall, tilted outward for observational alignment.

Overall workspace demonstrates integration of mechanical precision, optical capture, and illumination management for traditional animation or stop-motion workflows. The equipment’s configuration supports frame-by-frame capture with high stability, controlled lighting, and consistent perspective, essential for analog or hybrid animation production.

Image captures wide outdoor scene showing semi-arid vegetation in foreground, gently sloping land in midground, and mountain range under partial cloud cover in background. At base of hills, four large dome-shaped structures are aligned horizontally across image. Each dome appears circular with light-colored roof surface reflecting daylight, possibly composed of metal or concrete. Domes are evenly spaced, embedded partially into surrounding terrain, giving impression of low-profile construction integrated with hillside.

Foreground consists of scrub vegetation typical of dry grassland or semi-desert biome, interspersed with patches of bare soil. Fence line with vertical posts and wire strands is visible at bottom edge, demarcating boundary of photographed area. Midground displays cultivated or maintained strip of green grass, contrasting sharply with dry surrounding landscape, possibly irrigation-supported.

Mountain range in background is steep, with exposed rocky slopes and ridges partially obscured by low cloud layer. Peaks appear jagged and rugged, creating strong vertical contrast to horizontal alignment of domes. Sky above is bright but partially clouded, with diffused lighting producing soft shadows across scene.

Overall composition juxtaposes engineered dome structures with expansive natural environment, highlighting tension between human construction and large-scale geological features.

Drawing depicts a humanoid figure in mid-step, positioned partially outside an open door while leaning backward with one hand gripping the doorframe and the other hand raised toward the brim of a hat. The figure is rendered with elongated limbs, exaggerated shoes, and loosely draped clothing suggestive of costume attire. Facial features are simplified yet expressive, with wide eyes and darkened shading that enhance a mask-like appearance. The door, depicted at right, is shown ajar with visible knob, hinges, and planar surface defined by linear hatching. From within the doorway, a dense mass of swirling, worm-like organic forms extends outward, filling the upper left quadrant of the composition. These forms overlap, intertwine, and coil, generating rhythmic linear motion that contrasts with the rigid geometry of the doorframe. Shading is achieved through layered pencil strokes and cross-hatching, producing tonal gradations across the fabric folds, facial planes, and receding architectural surfaces. The character’s posture suggests resistance or surprise, with bent knees, angled torso, and wide stride as though attempting to hold back or escape the emerging flow. Proportions are intentionally distorted, with oversized shoes, flared pant legs, and splayed fingers emphasizing theatricality. Background space is left relatively unmarked, allowing the dense linear activity of the organic mass and figure to dominate the visual field. The drawing synthesizes elements of caricature, surrealism, and anatomical experimentation, integrating gestural figuration with imaginative environmental distortion.

The image depicts a group of nine individuals standing and kneeling in a workshop-like environment, holding and wearing mechanical rigs. The rigs are composed of metallic frames, rods, pulleys, and cable systems, suggesting experimental apparatuses possibly related to puppetry, motion control, or performance equipment. Each participant is dressed in casual clothing such as t-shirts, shorts, and sneakers, reflecting an informal working context.

Several figures have their heads digitally replaced with large baguettes, introducing a surreal and humorous modification to the otherwise documentary-style photograph. These bread-headed alterations contrast sharply with the utilitarian machinery, creating an absurd juxtaposition between organic parody and technical apparatus. The group’s arrangement emphasizes the centrality of the rigs, with cables and frameworks extending outward in multiple directions, reinforcing the theme of mechanical complexity.

The background consists of plain industrial walls with no decorative features, focusing attention on the group and equipment. The combined presence of bread-headed characters and elaborate rigs transforms the photograph into a hybrid between archival documentation and satirical visual art, blending themes of performance, engineering, and surreal humor.

The photograph, rendered in monochrome, captures a studio or exhibition environment where two individuals are engaged with a technical workstation. In the foreground, one person leans over a desk illuminated by a strong directed light source, working with paper or drawing surfaces. Overhead, a mounted camera or projection device is rigged on an adjustable stand, pointing downward at the workspace. This suggests a live capture setup for animation, projection mapping, or documentation of drawn imagery.

A laptop is visible on the right side of the desk, its screen displaying a circular line drawing consistent with the visuals being created or projected. Additional articulated lamps and structural supports surround the workspace, emphasizing precision control and documentation. In the background, another person stands near a secondary rig, silhouetted by projected imagery on a wall, reinforcing the layered interaction between manual drawing and digital projection.

The black-and-white tonal treatment enhances the technical and experimental atmosphere, highlighting contrasts between light, reflective surfaces, and shadowed figures. The image conveys the hybridization of analog and digital practices in a creative or research-driven context.