These works are made from paper found in the streets of Paris — crumpled, worn, already marked by other hands and other uses. Painted with a limited, earthy palette of ochres, browns, and greys, they keep their folds and resistances, their memory of having been elsewhere. They do not announce themselves. They ask to be held close. Audrey Messas has long worked with found and discarded materials — paper, cardboard, fragments of fabric and canvas — building surfaces that carry the traces of use, transit, and transformation. Without Address distils this practice to its most essential form: the minimum of means, in a moment of maximum uncertainty. The series was made in Paris in the spring of 2026, during the ongoing war in Israel. Working far from her studio, with only what the streets offered, Messas made works that hold the emotional register of that particular condition: vulnerability, impermanence, and the question of belonging — the experience of being without attachment to a particular place, of not knowing where home is, or whether it still exists. Sans Adresse — without address — names both the material and the feeling. The paper had no fixed destination. Neither did she.
