L’illusion du choix (2025) revisits a scene from The Matrix (1999), the cult science fiction film in which Morpheus—a guide figure—offers the protagonist a choice between a red pill that reveals reality and a blue pill that restores illusion. The gesture is suspended in a soft void, rendered with the stillness of religious iconography. Echoing Courbet’s L’Origine du monde (1866) in its tight, confrontational framing, the painting draws the viewer into a moment of apparent agency. Yet through its quiet precision, the work points to deeper ambiguities: the friction of free will within a divinely ordered world, and the illusion of autonomy under the structures of capitalism. Framed in the aesthetic language of 17th-century painting, it questions whether the act of choosing is ever truly outside the systems that offer the choice.