In Diptych CCIX – CCVIII, composed of two inks on paper, the first vision is that of a circumscribed shape whose incisive contours cut into the extent of a nuanced and diaphanous colour. In a second step, one perceives what, inside this frame, reveals a depth of surface. It is then constituted as a fragment of a range that virtually overflows the frame.

Claire Chesnier impregnates a thick watercolour paper with water, fixes it vertically, defines its frame with adhesive tapes and then releases large flows of dark colours with an ink-soaked brush. With a large Korean brush, she then intervenes on this vertical flow to sweep it horizontally. She calls these to-and-fro movements that slow down the fall of pigments onto the white of the page.