The viewer takes part in the "creative process": his imagination is elsewhere, in Greece, in the ruins of a temple, while his body and mind are there, summoned through smell, sight, hearing and touch: "This phenomenon can be compared to a 'transfer' from artist to viewer in the form of an aesthetic osmosis that takes place through inert matter".

The artist touches to form, and at the same time, the artist invites us to touch when touching the other has become almost forbidden. This rubbing, brushing and caressing are at the heart of a strange history of sculpture: that of beliefs and superstitions in the name of which, through gestures repeated a thousand times, the public alters statues whose contact is supposed to bring good luck, guarantee love or healing. These tender yet destructive gestures alter the color of a marble or smooth the surface of a bronze at a point designated as magical. In this case, the touch is the right touch. The stigmata of these beliefs and superstitions are a function of time, of the number of caresses, of the strength of the friction, parameters of a mechanics of the vow, a physics of the promise."

Bérangère Armand, 2021

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