In Nécropole de Tintin et Milou, Catherine Gran transforms the mythology of childhood into a strange and ritualistic landscape of memory. Built from masks, bones, dense foliage, and hybrid figures, the composition reads like an archaeological shrine where familiar cultural icons have been buried and reborn in altered form. Tintin and Snowy are not depicted directly, but survive as traces within a world of decay and metamorphosis.

Gran’s meticulous ink technique is central to the work’s impact. Through intricate cross-hatching and finely controlled detail, she gives precision to an oneiric and unsettling vision. The drawing balances scientific observation with fantasy, inviting the viewer into a space where logic dissolves and symbols proliferate.

More than a meditation on nostalgia, Nécropole de Tintin et Milou proposes that images never disappear: they decompose, mutate, and return in unexpected forms.