In the suspended sculptures Body Snatchers, indeterminate organic forms unfold in suspension. Their surface, in dark tonalities traversed by subtle variations, appears almost liquid and internally altered, as if marked by an ongoing process of transformation. Beneath them, ovoid appendages repeat with a quasi-cellular insistence, while hanging elements in translucent mouth-blown glass, made by the artist, suggest secretions, extensions, or outgrowths. Referring to the various film adaptations of Invasion of the Body Snatchers (notably those of 1978 and 1993), the works evoke an imaginary in which the body becomes the site of a gradual and imperceptible substitution. In these narratives, alteration does not occur through visible rupture, but through a process of duplication, whereby external organisms replicate individuals identically while emptying them of their interiority. What, then, occupies these forms? By maintaining this uncertainty, Body Snatchers opens a reflection on the porosity of identities and the mechanisms through which forms may be reproduced, infiltrated, or reconfigured, without ever fully revealing the moment at which the shift occurs.