Marine de Soos uses both her eyes and her hand to afford us a glimpse of the invisible, an alternative texture of time. Like a presence which suddenly sneaks into the world, within this “Lointain immobile (Stationary at a distance)” occurs an instant of eternity which suspends the arrow of time.

It is a fisherman, the suspended motion of a young shepherd walking, the mineral setting of the slow progress of a caravan.

It is “A l’ombre d’être aimée (In the Shadow of Love)”, the small girl cradled between her father’s knees, wrapped in a shred of simple fabric. They have so much to tell us … Within their destitution, the spoken word is silent.

It is the mother who is playing, teaching her child to live by communicating the essential tool for knowledge which is love.

How is it that these African or Oriental beings are so immediately familiar to us? That, beyond the apparent exoticism of the creative experience, a paradoxical proximity is established from the outset, a fraternal imperative faced with the evidence.

When art transcends the barriers of time and space and throws us into contact with the very soul of the world, we become once again, for a moment in time, what we are, natives of the territory of … that which lives, loves, dies and is perpetuated.

A sensorial sculpture imbued with motion, the poetry of Marine de Soos’s works is that of the “prose of days”, a form of antidote to the usurpation of time.

Escaping the cynical chaos of the world, the artist leads us on an ethical pilgrimage towards what is essential, her gaze extending a mirror to us all.

The accuracy of her perception, the perfect mastery of each gesture, are offered up simply as a presence in the world, a conversion of the perception which inexpressibly opens within us a path towards the light, a gateway to a discreet and shrouded truth. Shrouded in the silence of humility.

Marine de Soos offers us a chaste expression, an ethical and aesthetic directive, of her union with the soul of the world.