This work, made on two different scales, was shown simultaneously, at the time of its making, in two close but distinct places: the François Mitterrand garden and the Museum of the Hospice Saint-Roch in Issoudun. These volumes are akin to a stylized rock, one forming an inner version of the other. With the same form, they seem to be adapted to the contexts in which they are placed, conjuring up a virtual object without any particular dimension. The aspect of each one of the sculptures reveals the materialization of a 3D volume made with the help of simple and craftsmanlike methods. The object is built with sheets of plyboard cut into triangles assembled in a joint-like way. But the logic of the manufacturing process is broken: the pieces have not been cut out or put together by a machine or any technological tool, but by a more or less skilled hand. The manual manufacturing emphasizes the concrete character and heightens the object’s strange look. Its existence is paradoxical: it has shed the perfection of a synthetic image by becoming materialized. The design of the wood seems like a texture applied to the different triangular sides of the hollow form. This is not a form made in a wooden mass, but a complicated assemblage which contains only emptiness—a shell with facets. The sculpture, set on the ground in different contexts—public garden and museum—, sets up a dialogue with these places. It is the image of a rock, of a fragment of landscape, which tries to become incorporated in the environment accommodating it. The form thus gives rise to doubt and suggests a possible toppling of reality towards the virtual representation from which it results.