by Michel Nuridsany
(…) she had traced, on the walls of the belfry’s great hall and on the elevator shaft of the same floor, three lines – or were they shapes? or traces? or long trails? – flowing, almost transparent, simply beautiful and in appearance abstract.
In appearance only, for in fact the shapes laid out there, with what seemed both tremendous strength and great delicacy, were actually inspired by Gaul tools. They didn’t, however, represent those tools. Starting from the model, the lines fleeted away, here and there coming back to evoke the original form only to once again move further away, as though meaning to create an impression, more than a representation, or a journey to and from, as if following an outline from which the object could be recognized yet also blurred or forgotten, eluding you here, only to stand out clearly there, with an undefined meaning, yet at the same time representing a supreme bliss and an unbelievably ethereal freedom in the artistic expression.
Shapes and colors always perform, a pas de deux in which emerald greens, deep blues and striking reds step forward and then fade away, leaving on the wall, as they did in Montrouge, bright radiant traces, whose beauty and simplicity are marvelous. Aside from such artwork painted in situ, Mari also paints on paper, using highly diluted acrylic with the same subtlety, the same ideal keenness and the same delicacy, bringing to life shapes that balance one another in a clever and delightful imbalance.
extract, published in Soon 21