It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.

It could be Pierre Peyrolle’s motto. His manner in fact proceeds from the Kunstkammers, these cabinets of reborn wonders like baroque art which has rhetoric as its first principle. It amazes and convinces at the same time, taking the spectator into a world where materials, shapes, colors meet. A feast for the eyes. A whirlwind for the mind. A fantasy, sometimes excessive, sometimes of a rare subtlety. An art of staging and theater, but which is not ephemeral. « The whole world is a theater scene ». By choosing this quote from William Shakespeare, Pierre Peyrolle reveals his secrets. The decor is for him a theatrical setting, but it reveals a world. Or even worlds. Those, interiors, of men and women for whom they compose sets which reveal everything only to those themselves who inhabit them. Those of objects, expertly chosen, artistically arranged and even « scripted ». Pierre Peyrolle’s manner is in this capacity to play balances and staging. An informed eye, but also mischievous. Pierre Peyrolle plays. He hides and reveals. He has a taste for secrecy as well as appearance. He plays codes, habits, of himself too. He places an object on a console in the middle of a landscape as if by chance had planted it there. He mixes gold, marble, velvet and natural curiosities in a gigantic display case. It gives the chimney the shape of an open mouth which we do not know if it devours or if it howls. He composes like a musician: operas especially but sometimes also chamber music. An entire orchestra, followed by a voice. The manner of Pierre Peyrolle surprises at a time when the interior decor is in the measure, forms as colors. He resolutely chooses the party of generosity. The pomp. Of « great taste » which the contemporary eye has forgotten what it had, at the time of its creation, excessive in colors and the association of forms. Over time, the decorations of the Grand Siècle lost the colorful luster of their shiny golds and shimmering textiles. Pierre Peyrolle brings them back to life. Its sumptuous decorations are not immediately accessible. They require the spectator to accept to be carried away in a world of colors, shapes, materials, which is that of pomp, surprise, enchantment. At the bottom of entering this theater stage to play its own role and thus discover a real world.