Millet dissociates techniques and approaches, which could suggest different creators. On the one hand, acrylic on square small sized canvasses, reduced to a bi-chromatic black and white. On the other hand lead, colour pencil and carbon drawings on paper. The paintings are subjected to a formalistic and technical configuration giving them a hard edge aspect, while the drawings with their fragile hesitating trace are free of rigidity, which gives them an unquestionably more disorganized appearing. Still, both originate from the same mind; the artist attempting with different, even diverging means, to question the representational process. The acrylics are based upon a photographed, then photographic reality which Guillaume Millet has reworked, and then refined to extract a substantial marrow out of it to be reapplied coldly onto canvas. From there on the main stakes are concretized prior to the actual pictural deed: the choice of the motive and then of the photographic framing, the transcription of these data and the quest for an appropriate scale all happen prior to the application of paint on the canvas, which could just as well be delegated. A completely different matter are the drawings in which Guillaume Millet, while starting from various transposition stages, the source of which is once more second hand documentation, incorporates part of the risk which was particularly reduced in the acrylics. While the paintings are predictable, his drawings, overlapping and interlacing different sources, scales and angles are always of an uncertain becoming. As a reply to the exacerbated formalism, rejecting all corporeality, there is a writing, like a seismograph, recording the least tremors of presences begging to manifest themselves.