The fascination with the North is evident in the mythologies that suffuse most civilisations.
For Plato, the North was the land of elevated souls, but also of strength and light.
In a kind of ritual, the god Apollo travelled regularly to this realm of Hyperborea in a chariot drawn by swans in order to regenerate his prophetic powers.
The northernmost point is at the limit of the horizon, where land and sky meet in harmony to form this mythical paradise.

“Let us look each other in the face. We are Hyperboreans – we know well enough how remote our place is. ‘Neither by land nor by water will you find the road to the Hyperboreans’: even Pindar, in his day, knew that much about us. Beyond the North, beyond the ice, beyond death – our life, our happiness… We have discovered that happiness; we know the way; we got our knowledge of it from thousands of years in the labyrinth. Who else has found it?”
Friedrich Nietzsche, The Antichrist, 1888.

The holy geography and the evocative power of the cardinal point that is the North Pole, the Hyperborean myth, nourish this artistic project which sets out to give formal expression to an imaginary exploration of this space.
As a result of the upheavals brought about by our civilisation, might this space which seems so distant from our own become more familiar?
Voyage vers Hyperborée relates a will to transcendence in a world that has turned away from any primordial essence.