For Sorane Rotellini, paper is the metaphor of the skin. It inscribes the memory of evolution, of living things. Nature is its crucible. In his work, man is close to animals and plants. Hybridization is everywhere. Fascinated by the question of identity, genetics and science, the artist retraces through a bestiary of chimeras, insects, birds and amphibians the beauty and cruelty of the origins. In search of repair, reconciliation with childhood, she heals the work, previously scratched, with lace and embroidery. It is in doing that that she tries to repair and denounces the extreme fragility of the living being abused by men. Creation is a quest; she seeks there the meaning of life to temper the irrevocable loneliness of existing and of being in the world. A part of the body, the breast, has taken on its autonomy, its flight. This new hybrid is constantly changing, endowing itself with wings, beaks, legs or sharp claws, depending on the situation. This movement leads to the development of paintings, often in series. This succession makes it possible to apprehend the change, the richness of being one and its multiple. At the beginning, the line appears fragile and trembling like a disjointed thread which resumes its natural line. However inflexible it may be, the design delimits, identifies, secures and marks out the spaces. The introduction of couture, like visceral architecture, amplifies the space of this intimacy. The use of the thread is declined in knots, hairs, sewing, embroidery, "spider's legs" (threads covered with paint, which give an irregular appearance), plumb line (fixed from the top, free at the bottom). The process continues with a careful poetics of covering and dressing (oil paint, pigments, patina). "The breast bird" is at the height of its seduction, the pageantry is pushed to its extreme (cut-outs, lace, fabrics, threads, flat colors with textile influences). But in the third act it is the game of "making and undoing" which upsets the image of this beautiful bird, the sandpaper and the cutter come into play replacing the caress of the brush. These incisive tools (cutter, pins, needles, scissors) penetrate outside and inside the fictitious space (of this skin that the drawing constitutes, of this other body here triturated literally). It is this will to cross the simple appearance which leads to flaying the paper. Tying, binding, twisting, piercing, perforating, embroidering, scratching: it is to press the canvas so that a juice flows, a juice with varied truths, like existence. The color is intended as a continuum of the support (canvas or paper): a skin against skin. Color does not cover up, it becomes tanned, gives rhythm to the temporality of the space. The layers follow one another and form a thickness with a deep appearance. Color strikes hard, attracts our attention and keeps us under its shimmering grip in order to take us to the heart of the body, to the pulsating heart. The gestures become carnal, hand-to-hand between painting and the "percussion" tool, it is a search for fusion that is both physical and emotional. It is an exploration of the lines which tries to find the place of desire, then settles a circulatory flow which faithful to the breadcrumb trail leads us into the mazes of the space of the matrix. This plastic language through repetitive gestures makes it possible to establish a relationship that lasts over time. An emotional web is woven with the emergence of all the paradoxes that arise from the fusional link that the breast is supposed to embody. Woman has a psychic structure made up of contrasts. In it remains the idea of the body in perpetual change, it shelters and gives life. The woman thinks (heals) her body as a nodal space between her intimate organism (the interior) and the expectations that we have of it (the exterior). Thus the body of the female artist, receptacle of her emotions, paradoxically tends, through her canvases, through these scarifications, these erasures, these seams to immateriality, to a state of impenetrable grace. The spool of thread slowly unwinds, the link is installed and then the pressure rises until a beauty bursts, evoking the skin that breathes the world. The work on the theme of "The breast bird" extends to a recycled support, the egg box. The egg box contains within it the notion of fragility. And the recycled material, cardboard, is a very delicate medium to work with. All the ingredients of the process, scratching, drilling, sewing are then revisited with an energy borrowed from restraint. The impossibility of repentance and the saving of energy force us to think of the gesture as original, direct and frank. The lace and crochet frieze contrast with the raw aspect of the material, again creating a matrix universe. “To live is to crochet with the intentions of others. However, during this time, our thought remains free, and all the charming princes can walk in their enchanted parks, between two passages of the ivory needle with the curved end. Hook things… Intervals… Nothing… ”. Fernando Pessoa