La fibre de mûrier provient de la chair du mûrier Kozo, des couches profondes de l’écorce. Utilisée traditionnellement en Asie pour fabriquer le papier, elle peut se teindre, se mettre en forme afin de réaliser des sculptures. Dans mon travail, après avoir étiré la fibre pour la sculpter, je reprends avec le pigment or la texture naturelle de la fibre afin de jouer sur le rapport ombre, lumière, et de mettre en valeur les aspérités...
Figurative, singular art, and abstraction were the steps of ABR artistic progression. She favors the creative act, dropping a certain academism without rejecting it, but her need to refine, to go to the essence, led her to abstraction, leaving full freedom to gesture and movement.
The importance of paper.
She composes her works by inserting collages of papers, Chinese paper, gold and silver leaf and working on the balance of "empty and full", materials and plain surfaces, brilliance and mat. Interaction of all these elements leaves place to chance and guide the framing of her paintings. Random effects from these combinations are integrated in her creations.
Her training in psychoanalysis plays a part in her creative approach. Facing the blank canvas, as she progresses in her work in total concentrating, almost apnea, completely cutting herself from her environment, she attempts to reach the deepest possible release.
That way each painting tells a story, her own story, the one of the other, a puzzle elaborated as an attempt to answer insoluble existential questions: life and death. This is why it is recommended to linger in contemplating ABR works, take time to carefully observe all the shades of a monochrome color, give full freedom to one’s imagination and then be surprised to discover an animal, features of a person, a monster.