STUDIO ARCHIVES — THE GENESIS OF A VISUAL LANGUAGE
These are the traces of a visual language that took shape over time.
A study by Marie Dernoncourt — 2026
Before the cube emerged in my work, there was a long period of exploration. I questioned emptiness, matter, tension, passage, rupture and balance. How can much be said with little? How can a canvas be composed with only a few forms, a few lines and very little colour?
Little by little, one rule asserted itself: remove. Remove a line, a colour, a form, until every element became necessary. Emptiness was no longer a space to be filled: it became an active breath. Matter brought weight, resistance and grounding.
At that time, renovating my old house profoundly shaped the way I saw. Its volumes, edges and alignments, but also its flaws and lack of precision and care, reinforced—perhaps unconsciously—my need for a simple, stable and constructed form.
The cube appeared gradually, not as a symbol decided in advance, but as a form capable of concentrating several questions already present: to hold, to resist, to traverse, to detach, to break, to find its place within emptiness.
I was not trying to fill the canvas. I was looking for what could still be removed without the essential disappearing.
Methodological note: the synthesis panels presented below were created in 2026 from preserved sketches and research notes. They are intended to make the process legible and are not presented as original archival pages.
Research Panels — Visual Synthesis
In Search of a Vocabulary · States, Tensions and Transformations · From Point to Cube
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