According to the performance, the drawing or the setting up, Audry Liseron-Monfils dips her curious eye into the world to draw the unsuspected side of a context and its impact on the emergence of the being in his singular and his community sides. “Doubt might be slower but it is as flowing as water, it finds unsuspected flaws, forgotten cracks in the wall of consciousness…” Pierre Gélinas.

The artist, a sensitive surface of inscription, is like an enlightener integrating the unexpected accident, the technical reliability and the fluidic doubt. His or her discovery of the world through the senses is made of a sketchy and discontinuous approach, a kind of “infinite foliation ” as Jean-Christophe Bailly described it in his book “Detached tiles”. The subject is made up of what he saw, observed, read, felt or understood. He then needs to put himself back if not on retirement, so as to consider all that is possible.

The keystone of his or her reasoning is the device: a network of very coherent elements which vehicle a conceptual speech - plastically embodied – and in which the “I” links up shapes-meanings according to a “you”. In general, the device integrates individuals who can or cannot take part in the selection of a possible among possibilities. That procedure which sets up a system of artistic control is essentially horizontal. Thus there is no hierarchy, only a combination of systems and sub-systems linked together and whose limits constitute an environment.

As Niklas Luhmann said “he is a self-poietic, self-referential system: he legitimizes his own decisions and produces his own norms, not by self-creating for his autonomy with regards to his environment does not make him completely independent, but by self-renewing the norms he produces.”