Raised with a curiosity and an appetite for artistic expression, Sarah Arnaud first turned to film. After studying performing arts, she worked in the audiovisual field and became interested in web creation with the creation of the transmedia and web studio TroisYaourts.

For more than six years now, she has been developing projects in XR with different production companies and accompanying events and festivals with a strong digital presence. In 2018, moving from production manager to creator, she embarked on the writing of the project Dans la maison, a virtual reality interpretation of Jean-Pierre Raynaud's Maison, for which Sarah received writing grants from the CNC's Fonds Expériences Numériques and the Brouillon d'un rêve grant from SCAM.

With a will to defend experiences for a wider public, she creates in 2019 her own production company, Tchikiboum. She is involved with various creators and authors of immersive and innovative projects, mixing artistic creation, performance, architecture and new technologies, such as The Dancing Plague by Julie Desmet Weaver and Eugenie Andrin, Duchampiana VR by Lilian Hess and Urban Safari by B.F.

Dans la Maison is a virtual reality project offering a fantasized version of the home in which visual artist Jean-Pierre Raynaud lived. For more than 25 years, the artist built and modified a house made entirely of white ceramic tiles, until he destroyed it with his own hands. Dans la Maison does not propose a revisiting of these place but rather an emotional journey through the artist's psychological state.

Virtual reality becomes the messenger of the artist's sensitive imprint. The project reinterprets the will to live alone, to find oneself in front of the material, the darkness... and how the place becomes an object of desire and affection.

Dans la Maison draws a quest for absolute beauty, the search for a boundless affection through a place, a space, an environment. Through a simple graphic identity and an unfolding narrative in crescendo, users are invited to travel through this House that is no longer, testifying an absolute love for a dwelling that becomes independent through the gaze that its creator poses on it.