In Casa, Daphné Bally proposes a meditation on the limits in the place of origin and how these influence the construction of identity. Part of conceiving the house as an object, allows the observer to understand the reflection of the fixed nature that characterizes him. The house-thing contains permanent elements, house-memory, house-origin, primitive cottage, whose architecture Bally understands as the trace of the human being and an ancestral gesture of protection.
Through the immoderate use of color and the spontaneous effect of watercolor Daphné Bally actively intervenes with the purpose of deactivating the archetypal idea that we have of the place we live in. The manipulation of such a common object allows her to deal subtly with notions such as the empty and the full, inside and outside, identity, history reality and fiction, travel and homecoming.
The place we inhabit delimits, not only our origin but also what we are properly, so in Casa, Bally presents an analogy between the house and the cage from which arises the idea of confinement. This way we understand confinement represents the drive to remain in the same place, understood form different perspectives, historical, political, psychic, permanently.