Modelled on the extent of the void.
In the controversy or perhaps the conformity, between the natural and the artificial, which intrigue so much the Renaissance humanists, contemporary artists have innovatively brought together local heterogeneous materials. And so, on her long wanders through the forests, Anne Delfieu collects beech branches which she transforms into strange shapes, as determined by the natural differences of the beech.
After de-structuring, re-forming, compressing and colouring by the contribution of various
materials, she then carves webs on the walls. Here, one loses attention, prompting primal vibrations within. Another time, these are panels with a surface which is rough, ridged, fringed, flaring, climbing, where incernables refract the shadows. The wall reliefs by Anne Delfieu are modelled on the extent of the void, the interlacing of uncertainty, which, after twists and bends, are resolved into a long serenity of breath. In this setting of nothingness, this which plays, surely participates in our attachment to our own finitude.