What strikes one at first glance is the object's sobriety — for the only element to mark the white surface of the cover is the black lettering of the title Le La Mort. Looking through the pages of the book, the reader will discover the black-and-white photographs that reproduce at scale 1:1 a series of carbonised wood sculptures made by Fabien Giraud for his 2011 exhibition at Forde, Geneva. The photographs are enigmatic — sometimes only showing great black surfaces with no significant detail, sometimes revealing certain aspects of the sculpture and its texture. The book is divided, in the middle, by another book. The latter emerges in the midst of Le La Mort as if to rip out its very substance. The pages of Metaxu present a text divided into 48 chapters. The text is a technical saga and the narrative kicks off on a plain in the Indus Valley a few centuries before our time, ending in 2010 in the diffuse site of our contemporary culture, in the to-ing and fro-ing between the image culture and cutting-edge technology. In this work, as if to echo this technological saga, Fabien Giraud confronts two radically different printing techniques: digital, industrial printing for Le La Mort, and hand-crafted, linotype printing for Metaxu. He offers a forceful reflection — at once poetic, theoretical, literary and visual — on the relationship between art (and the artist) and its relationship to the different technologies that have developed throughout history.