The Zantray series (from the Haitian Creole zantray, meaning "entrails" or "innards") brings together works that exist at the intersection of painting, sculpture, and relief. Their surfaces appear to emerge from wounded skin, marked by chemical reactions, crystallization, fragments of mirrors, plant matter, and found materials. Embedded within a metal grid that evokes fencing, cages, and industrial infrastructure alike, these organic forms appear as bodies in the midst of transformation.

The wire mesh functions as a separating membrane: it protects even as it confines, recalling systems of control inherited from extractive economies and colonial violence. Behind this structure, materials spread, crack, and proliferate, as though memory itself were struggling to break through the barrier.

Through these compositions, Gaëlle Choisne gives voice to a cry rising from the depths. Mineral iridescence, scorched pigments, and reflective shards create a landscape where ecological catastrophe, the exploitation of natural resources, and the enduring legacies of colonial histories converge. Scattered throughout the material, mirrors invite viewers to see themselves within this fragmented memory, transforming the work into a space for both reflection and resonance.

Part sensitive cartography, part living organism, part archaeological relic, Zantray gives form to what remains buried: the traumas embedded in landscapes, invisible histories, and the forces of repair that persist beneath the surface. These works do not represent the world; they reveal its fractures, allowing the vital energies that resist erasure to emerge.