Named Pélé in reference to the goddess of volcanoes and primordial forces, the work is a diptych that explores the balance between structure, movement, and the silent tension of transforming systems.
Within this diptych, works A and B reveal two states of the same phenomenon, driven by a shared internal dynamic: an expanding inner energy and a peripheral structure that channels it.
D12A, like a constellation of geometric elements, radiates with a dense, multiple, almost explosive vibration; D12B offers a more spacious breath, allowing silence to settle, like a wave easing after its moment of highest intensity.
Both operate with equal force but in different ways: a driving energy that radiates, spreads, and seeks its own trajectories. Its quiet flexibility allows the system to hold together without breaking.

Together, they embody two distinct yet interdependent energies, which shape the overall logic of the diptych.
A cyclical force circulates between the two pieces, like a moving constellation or a mandala in transformation — forms that simultaneously invite introspection and openness.
This complementarity generates a deep coherence, revealing an inner mechanics — a system of pressures and resistances at work beneath the surface.

Though fractured, the outer ring absorbs and redistributes tension.
These fissures are not ruptures but signs of a structure learning to endure movement — allowing energy to pass through without disintegration. Both works share a common geometric language: a circular composition structured around a segmented perimeter. The subtly displaced fragments evoke tectonic shifts and latent fault lines. This deliberate imbalance situates the works within a living, unstable — yet precisely ordered — system.
The two pieces share a common geometric vocabulary: a circular composition structured around a segmented outer ring. The slightly offset fragments evoke ruptures, faults, and tectonic shifts. This deliberate imperfection situates the works within a living, unstable, yet precisely ordered system.

Materiality reinforces this dynamic. The tonal variations of the gouache — the result of Virginie Knysak’s technique and her use of natural elements — bring a mineral depth to the surface.
Laser burns mark the surface like luminous imprints, traces of fire that directly echo the primal forces embodied by Pélé.

The carved lines cast shifting shadows, while the pencil work in B introduces a silver, mechanical, mineral vibration, recalling the glimmer of light sliding across stone. These marks, hollows, and light-and-relief effects become vectors of tension and breath — technical and cosmic signs that change with the viewer’s gaze, depending on their position before the work.

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