Armelle Canitrot, Figure eight in flight

From the monography Corinne Mercadier,  Filigranes Editions, 2007
Page 37

Never has the symbolism been as strong as in this work involving the finite and the infinite, the white and the black, in a curious interpretation of yin and yang whose wisdom wants a little of one exists in the other, and vice versa. A work that also sees the triptych become an altarpiece, which no one ignores the link to the most accomplished religious art. Especially the extraordinary Jardin des Délices by Hieronymus Bosch, to whom Corinne Mercadier often refers. Covering both sculpture, book and screen, the altarpiece offers the artist a new space of ideal representation to develop his obsessions on the hidden and the revealed, on the volumes and the geometry, on the scansion of time and the decomposition of the movement. And one can not help but see a sublimated double of the artist and his own contradictions, in this dancer torn between her constraints and her aspirations, that this performance shows finally released through the exercise of her art.

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