All animations are hand-drawn frame by frame at 6 fps.

MY ANIMATIONS

What Am I (Dome Animation),2024

What Am I Dome is an immersive animation that surrounds the viewer, transforming perception into experience. Drawing on rhythm, gesture, and subtle accumulation, the work invites introspection and self-reflection, asking audiences to engage with identity, presence, and the layers of inner experience. Within the dome, movement unfolds deliberately, creating a space where time, image, and the viewer converge, and where stillness and motion coexist in dialogue.

Presented at the first dome festival in Mauritius, hosted by House of Digital Arts, the work marked a new chapter for immersive storytelling on the island, bringing experimental animation into a spatial, participatory context.

I specialize in frame-by-frame animation, often working at 6 frames per second. Within this reduced tempo, I compress dense movement and meaning, allowing each frame to carry weight while time stretches and unfolds deliberately.

Maa,
4 walls 1 floor immersive animation,
House of Digital Arts
, 2024, Mauritius

Maa is a hand-drawn, frame-by-frame animation created from over 6,000 individual drawings, designed as a fully immersive space. Viewers step into the narrative, engaging with the rhythms, gestures, and textures of the work as it unfolds around them.

Rooted in the intimate longing of a mother, Maa explores presence, absence, and the subtle currents of care and connection. Each movement, each frame, is carefully composed to allow the audience to inhabit the space emotionally and physically, transforming viewing into a participatory encounter. The animation balances detailed storytelling with a contemplative rhythm, letting the narrative emerge through repetition, accumulation, and the tactile quality of hand-drawn motion.

The work was presented at House of Digital Arts (HODA) in Mauritius during the 2nd season of their digital festival, offering a new way for audiences to experience experimental animation and emotionally-driven storytelling.

LaLinn, 2025

Emerging from the emotional terrain of loss, this animated video clip was created for the Mauritian group Patyatann for the song La Linn Lao, a moving meditation on grief.

Through an abstract visual language, the animation traces the different stages of mourning using symbolism and metaphor rather than linear narrative. Shifting forms and rhythms echo inner states of denial, sorrow, and acceptance, allowing emotion to lead the experience.

The result is an intimate and touching work that invites personal interpretation, offering a quiet visual space in which grief can be felt rather than explained.

Mo Zoli Ti Zil, 2025

Mo Zoli Ti Zil is an animated work rooted in my personal relationship with Mauritius, the island I call home. The project explores the complexity of loving a place while navigating feelings of non-acceptance, and the ongoing effort to shape it into a safe and inhabitable space.

The animation unfolds through an abstract visual language, where symbolism and metaphor express themes of belonging, identity, and emotional resilience. Rather than presenting Mauritius as an idealized setting, the work approaches it as an intimate emotional landscape shaped by attachment, memory, and tension.

I also composed and performed the original song for the animation, allowing sound and image to emerge from the same emotional source. Together, the visuals and music form a unified expression of devotion to the island, reflecting both its beauty and its contradictions.

Mo Zoli Ti Zil stands as a personal yet universal reflection on place, love, and the quiet act of choosing to stay and care.

Anou Danser, 2025

Anou Danser is an animated work centered on rhythm, movement, and the shared joy of dancing. Built around a playful, trippy visual language, the animation responds directly to the energy of the music, creating a sensory experience rather than a narrative. I composed and performed the song for the piece, allowing sound and image to evolve together in close dialogue. The work embraces spontaneity and lightness, offering a simple celebration of movement, presence, and collective joy.

Echo,2025

Echo is an immersive audiovisual project that tells the story of a fish transforming into a man in order to visit an island, where he ultimately finds himself dancing upon it. The narrative unfolds as a poetic metaphor for transformation, curiosity, and the desire to cross boundaries between worlds, bodies, and states of being.

The work was conceived as a large-scale mapping installation, projected onto three semi-circular surfaces. The imagery extended beyond the structures themselves, reflecting onto a pool of water below and creating a mirror effect that doubled and distorted the visuals. This interplay between projection and reflection blurred the line between image and environment, inviting the viewer into a fluid, dreamlike space.

I composed and produced the original music for Echo, allowing sound and image to evolve together as a single experience. Through movement, rhythm, and spatial immersion, the project explores transformation not as a destination, but as a continuous echo between nature, the human body, and place.

Zinzam , 2025

Zinzam is an experimental animation exploring looping and repetition, paired with an original musical composition. The work reflects the rhythms of tiredness and weariness, using visual and sonic loops to evoke the subtle weight of fatigue. By focusing on pattern, motion, and recurrence, the animation transforms a simple sensation into a meditative, immersive experience.

Agathe in Wonderland , 2026

Agathe in Wonderland is a hand-drawn dome animation exploring disorientation as a form of awakening.

Inspired by the logic of Alice in Wonderland, the work follows Agathe as she moves through a surreal Mauritian landscape where scale, gravity and narrative coherence continuously collapse. The familiar becomes unstable. The island becomes elastic. Reality bends but never fully breaks.

Drawn frame by frame at 6 frames per second, the piece embraces slowness and imperfection as structural choices. The reduced frame rate allows each drawing to remain visible as a gesture, preserving the trace of the hand while existing inside a 360-degree digital architecture. The dome transforms the viewer from observer into participant; there is no single front, no fixed hierarchy, only immersion.

The work questions how identity is constructed in environments that are culturally layered, postcolonial and dreamlike. Agathe’s journey is not an escape into fantasy but a confrontation with fluidity. In this wonderland, instability becomes a method of self-recognition.