In these works, the armchair appears as a silent stage for everyday life: a place of rest, but also of confinement. The bodies, seemingly comfortable, reveal themselves in tense, uncomfortable positions, halfway between rest and collapse. Rather than portraying domestic scenes, I am interested in what lies hidden there: the minimal gestures that condense collective states, intimacy weighed down by the burden of an era. Our generation is well acquainted with this paradox—the burnout caused by our cell phones, the displacement of desire toward endless scrolling, the stillness that is also overload. We forget how good it is to be bored. From this perspective, each figure in their armchair becomes a vestige of the contemporary, a portrait of the intimate turned symptom. An anthropology of the everyday.