Perfectly measured proportions, bright and acidulous colours, quality materials... If form and material are treated here as being the finality of the work, this does not mean that Laurent Perbos does not give meaning to his approach. Quite the contrary! The French artist, heir to the American pop artists and the New Realists, embellishes everyday objects with a mocking tone! In the manner of the surrealists, he wraps them up, modifies them, intrinsically remodels them to finally change the total aspect of the object. The aim is not only to create tension in the viewer, who no longer really knows what he or she is looking at; he also openly criticises consumer society and mass industry. This is quite confusing, as the object in question is both anchored in reality, as it really exists; but it is also in a parallel dimension due to its modified essence. While questioning the history of art, he manages to make the viewer doubt. Every detail is important in Laurent Perbos' work. But the scale, the size of the object is even more important. With him, the small can become monumental. Take the example of this faceted ball which, at first glance, seems to have kept its normal size. But the more you see it in the room, the smaller it will seem. The light that the facets reflect off the walls makes the object itself smaller than it actually is, and its emanation is only magnified. For his first exhibition at the Cabinet d'Ulysse, Laurent Perbos presents old works as well as a series specially created for the occasion. These are the Vitraux de confinement, unique pieces that will be presented at Art Paris this year. Made from scraps of stained glass and the coloured pencils that hold them together, these windows play with transparency and covering.