Élisabeth Cibot’s production is particularly vast in its relationship with the great martyr-figure of the artistic feminine.

It must awaken something special in anyone who can see what the acting hand has to do with the thinking, laughing and crying face. It took her a long time to reach the point of balance sought in the artist’s work.

We know the great variety of his themes, which are approached in the fields of medieval imagination, literary wonder or Celtic mythology.

His aerial aesthetic, combining deceptively shaky balance and deceptive heaviness, is also well known. Thanks to his presence in many places in France, we are also familiar with his ability to invent representations of historical figures in an approach that is as respectful as it is subtly mischievous.

Less well known, however, are some of his heartfelt works, which occupy his mind.