The most recent installations of Mat COLLISHAW for Cosmic Galerie take the form of video projections on old furniture resembling a neo-Victorian interior. If these objects essentially belong to the realm of the inanimate and the perennial, the principle and the content of the videos are linked to a contemporary universe, to life and its fragility. The artist seeks to inspire a spark of life in these objects, to somehow breath new life into them with his spectral videos. Even if this breath is fragile, even if life is the exception and the inanimate rules, it is this spark that gives the objects their soul. The interior of a scene from Gone with the Wind is projected on the clock face of the grandfather clock. This scene takes place in a bedroom from which one can see Big Ben; a child tosses and turns under the sheets and repeatedly cries as if having a nightmare: "Daddy, daddy!" The sound of its voice is faint and the incessant ticking of the clock accentuates the ambiguity and oppressive character of the scene. Only Big Ben in the film and the Neo-Victorian clock in the installation seem to be witnesses. The comforting image of the family clock, its almost anthropomorphic presence evoking Big Ben, contrasts with the ambivalence of the situation. In 'Peacock', the bird's image is projected on a dividing screen. Through the formal similarity of use of the screen and the peacock's tail, a conceptual link is added in the game of undressing and revealing; hiding in order to be more suggestive, suggesting and showing to more effectively seduce, seducing to more effectively deceive. Veritable memento mori, Flower gives the impression of a pedestal of life: on a table a horn is placed which supports a ball inside of which the image of a luxuriant flower is projected. The same in Bird, the sweetness of the image of a bird stands in contrast to the idea and presence of the cage.