After having experimented with what he calls the mobility of painting and its multiple applications, Julien Saudubray now synthesizes his experiments in a practice he defines as mechanistic. By reducing subjectivity to a minimum through the methodical application of layers of colour on the wall or paper, he evacuates the subject from the painting to reveal its internal structure. From the reduction of the latter to an arbitrary and repetitive action, sweeping, sanding, erasing, adding, paintings emerge as catches between two times, almost resembling bad digital prints, and which perpetually replay their possibility of success.