This concept of ‘symetrism’ exposes a work that is not formally symmetrical but conceptually symmetrical. That is to say that each element has its counterpart, without however corresponding if the work were to be folded in two. Spectators thus found that these characters were acting on them, and wondered if it was a supernatural factor.

The subject is the human being. The concept is based on this idea of power, of the truth of the line. The line itself is a human concept, because strictly speaking there is no line in nature. It is a synthesis of the visual world. In some simple traits, in a few points of reference recognizable by the human brain, one learns who this man is, one understands for example that he has passed fifty. The artist selects the active elements, the essential: each trait is an indication for the brain. If the brain sees such an indication, then it understands some other information.