The Inaperçus series grew out of my observation of the peat bogs in the Limousin region. The past is not behind us, but beneath our feet. It evaporates, swirls, like a floating memory, a light mist, almost like breath.
“ By closely listening to the ground, the artist thus reveals what connects us: as in animist Africa and Mongolia, where men believe that even things have a soul, the earth is revealed as a fluid flowing through all beings, animals, foliage. In her plastic work, unseen networks are woven, threads are stretched between life and non-life, and what is not seen is shown in full colour, while we find ourselves immersed in the green of leaves, the rose of Eros or the blue of the sky. There is, as Gilles Deleuze puts it, a real logic of sensation. In her workshop, the shapes are rounded, they repeat themselves, while materials, wool or cotton, remind us of natural patterns. The lines of her paintings are paths to follow, and these open lines, combined with sensuous oval shapes, yield myriad impressions and a latent eroticism, as though they were extensions of the hollows and undulations of the body, the waves of the ocean, or the mother-earth in the bogs of the Limousin: the cosmos here, all desire, unified in one formal instant. From behind their frame of glass, her works are watching us; these are eyes and flowers from Spain, breasts as round as mathematical abstractions. ”
Laurent Quénéhen, art critic, from the catalog Je vois le ciel au fond du puits, ed. Hautville, 2016.
“ By closely listening to the ground, the artist thus reveals what connects us: as in animist Africa and Mongolia, where men believe that even things have a soul, the earth is revealed as a fluid flowing through all beings, animals, foliage. In her plastic work, unseen networks are woven, threads are stretched between life and non-life, and what is not seen is shown in full colour, while we find ourselves immersed in the green of leaves, the rose of Eros or the blue of the sky. There is, as Gilles Deleuze puts it, a real logic of sensation. In her workshop, the shapes are rounded, they repeat themselves, while materials, wool or cotton, remind us of natural patterns. The lines of her paintings are paths to follow, and these open lines, combined with sensuous oval shapes, yield myriad impressions and a latent eroticism, as though they were extensions of the hollows and undulations of the body, the waves of the ocean, or the mother-earth in the bogs of the Limousin: the cosmos here, all desire, unified in one formal instant. From behind their frame of glass, her works are watching us; these are eyes and flowers from Spain, breasts as round as mathematical abstractions. ”
Laurent Quénéhen, art critic, from the catalog Je vois le ciel au fond du puits, ed. Hautville, 2016.