In Objets dépaysés (series), Missika relocates a series of natural objects, an act of forcibly displacing something rooted in
one environment.

In Greek, “metaphor” [μεταφορά] means transport, transfer,
or moving something from one place to another. In this case,
the artist transports a set of Neptune balls, the seagrass fibers
compacted by the waves of Corsica are carried to the volcano
of Wulanhada in Inner Mongolia.

The seaweed has been previously shaped by the movement
and friction of the sea, resulting in a pebble-like form that now
lies atop an ancient volcano. Like a metaphor, the object is
dé-paysé [out-of-the-ordinary], first transformed by the water,
then, by the artist, who follows the inertia of the action until it
lands amid an otherworldly landscape. This sequence of bewildering events dissolves the dichotomy of ‘natural’ and ‘artificial,’ serving as well as a metaphor for the displacement of
both humans and non-humans, the denaturalization of plants,
and the globalization of species.

This disruptive action culminates in the creation of a landscape
milestone: These stacks are cairns, often used worldwide as
landmarks to indicate summits or hiking trails. Missika completes the human-made mineral towering shape with vegetal
pebbles adorning the pile. Consequently, the chain of movement may continue; this time, it will be the wind that determines
the next journey of what now has become a tumble-seaweed.