Laurent Chambert’s piece, No61, Project to convert private space into public place comes across like the result of recycling his studio, both a dwelling place and a workshop, as a work of art. By offering the place for rent in an advertisement published in a property magazine, he transformed the private place into an art project and thus into a public place. Devoid of any special feature, the studio is lit by a lampshade, a Plexiglas box, sanded and rendered opaque by a white colour, whose form echoes the volumes of the apartment. Private space becomes a time-related event. The work consists of the object, the lampshade from which we only see the diffused glow. This reality, subject to a formal schematization, is emphasized by the use of the computer for the perspectives, which further heightens the neutrality. This coded language makes it possible to distance reality, which thus functions like a visual sign. Here we link up with one of the principle preoccupations of Chambert, whose work is fuelled by the abundance of visual impetuses of the world he is part of, talking out against the influence and burden of communications and signals on the collective unconscious.