Dunes

The work continues the artist's practice, in which the trace of the electrocardiogram — until now an abstract motif transcribed onto the pictorial surface — here gives way to the human figure, a shift the artist makes for the second time: from abstraction toward the figurative, and from acrylic toward oil, the signature of their Series 3.

The composition proceeds from a deliberate displacement. A woman, dressed in a suit, lies stretched out in the immensity of the Merzouga erg, at the edge of the Moroccan Sahara. The garment is placed here in direct contradiction with the territory that receives it: the desert, indifferent to any hierarchy, function, or status. This clash between suit and dune is not incidental; it constitutes the conceptual center of gravity of the work.

A golden halo, radiating from the ground rather than from the sky, envelops the figure in a warm, ascending light. This reversal of the light source conveys an inverted relationship of belonging: the territory does not belong to the subject — it is the subject who belongs to it, carried by it rather than possessing it.

The restrained posture — neither upright nor fully surrendered, a body lying down — places the figure in a state of suspension. The hand resting on the heart, a gesture repeated throughout the artist's body of work, acts as a silent vow: that of inner listening, a return to the heartbeat that has structured their entire approach from the outset. What the abstract canvas once traced as a cardiac line, the body now carries directly. The artist replaces the representation of the heartbeat with its embodiment.

The work asks, directly: what remains of the subject once everything that socially defines them is stripped away? The answer it offers is physiological before it is symbolic: what remains is breath, the beat, the vital organ of every human being — the heart.