Ni l’Une, Ni l’Autre, a diptych of two faceless busts, articulates the tension between an original artwork and its replica, specifically through the case of Benvenuto Cellini’s Nymph of Fontainebleau (1542–44) and its cast replica at the V&A museum. The piece synthesises the effects of art replication, translation, and exhibition, forming a critique on how these processes can displace an artwork’s aura. Through facelessness, duality, and monotony, Ni l’Une, Ni l’Autre constructs a visualised absence that erodes the historical and mythological identities embedded in the original sculpture, reflecting the conditions of its cast counterpart.

The project adopts critical refusal as a methodological stance, where it holds space for, but does not articulate identity, hierarchy, or context in order to expose how replication and institutional display reconstitute historical meaning.