For over fifteen years, V\u00e9ronique La Perri\u00e8re M has given pride of place to invisible worlds. In every work, she elaborates a surreal universe in which humans are connected to animals and plants through the sfumato of charcoal, the precise lines of a pencil, or the blending stump of pastels. From the Gorgones<\/em> series (2011) to bodies-forests to the Motif de mes r\u00eaves<\/em> series (2015\u200a\u201318), feathers, skin, and roots harmonize. This cosmic union, which she also developed in the video Le souffle d\u2019Uranie<\/em> (2015), represents one of her most beautiful obsessive metaphors.<\/p>\n\n\n\n

In 2022, La Perri\u00e8re M began shaping the material of dreams through the lens of \u201coneirography,\u201d in images rather than in words. The resulting works are envisaged as emergency exits from an anxiogenic reality: they invite us to wander through a dreamscape, explore its mechanisms, and cross its thresholds. Indeed, everything involves crossings for this artist of re-enchantment. Except that now she focuses more on juxtaposing mental spaces; using a calming aesthetic, she blends and stages impulses, fantasies, repressed desires, and internal conflicts.<\/p>\n\n\n\n

Blue monochromes increasingly characterize La Perri\u00e8re M\u2019s oneirographic world, placing her in the sur-
realistic lineage of Paul Delvaux and intriguingly capturing a symbolic space that owes much to Freudian lessons. While blue colours the tent of Nuit miroir<\/em> (2023) and transforms it into a box of dreams, in other works it plays a part in the metamorphosis of beings emerging in a world in constant motion. In fact, Onirographie (je te vois) <\/em>from 2022 perfectly embodies this approach, which philosopher Georges Didi-Huberman would have validated: we see a woman looking at us through glasses metamorphosed into a moth. She tells us just how important it is, as La Perri\u00e8re M believes, to \u201ctake care of that which, in us, is capable of vision.\u201d<\/p>\n\n\n\n

Translated from the French by Oana Avasilichioaei<\/strong><\/p>\n\n\n\n

Art critic, essayist, and independent curator Claire Caland specializes in comparative mythology. With \u00c9milie Granjon, she has co-written the essay collection Cinq fabricants d\u2019univers<\/em> (Montr\u00e9al: Nota Bene, 2017) and Miroirs, m\u00e9tamorphose et temps invers\u00e9<\/em>, a monograph on the work of V\u00e9ronique La Perri\u00e8re M (Alma: Centre Sagamie, 2020).<\/p>\n\n\n\n

As an art critic, essayist, and independent curator, \u00c9milie Granjon theorizes on art. With Claire Caland, she has co-written the essay collection Cinq fabricants d\u2019univers<\/em> (Montr\u00e9al: Nota Bene, 2017) and Miroirs, m\u00e9tamorphose et temps invers\u00e9<\/em>, a monograph on the work of V\u00e9ronique La Perri\u00e8re M (Alma: Centre Sagamie, 2020).<\/p>\n\n\n\n

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