“There is metaphysics, that of Chirico's paintings, in the framings offered to us. The counterpoint of the horizontal stripes — those of the sills, those of the windows — adds a touch of humanity to what would otherwise be only geometry.

The difficulty is to create grey: that observation by a Japanese painter from the century of prints takes us back to Chrystèle Lerisse's project. How to catch the light, and the shadow, without crushing all the volumes under the sharp edge of the spotlight; how to stay in the middle, between two values, in that going and coming from the impression to the memory and from our present memory to what we sense of the future in the past. The past-present is not just a verbal tense, it is a way of being on the lookout, attentive to the mood of the time and to the deterioration of things.” — Paul Chemetov