This proposed encounter between the works of Anna Solal and Pierre Unal-Brunet is based on their shared predilection for the hybridisation of materials, forms and genres.

For each of them, the process begins with the collection of materials: out-of-use objects and cheap standardised products in the case of Anna Solal, and rather natural elements in the case of Pierre Unal-Brunet. Like primordial ingredients, they are then assembled, with the artists interweaving the symbolic and usage values associated with them. The aesthetics are very different, but both echo a craft practice, such as that of the goldsmith or the weaver. The resulting protean pieces blur the boundaries between genres: we hesitate to speak of arte povera or rather art brut, just as we fail to describe with any certainty what we are seeing, so porous are the boundaries between humans, animals, plants and products. Often archetypal or even archaic in appearance, the works constitute a kind of unknown folk bestiary that challenges the order of things. With their rare singularity, they are reminiscent of relics emanating from a temporal and spatial otherness in perpetual motion between past, present and future. Contaminating the exhibition space like an expanding body, these works are places of intercession between self and other, between reality and chimera.

Between confluences and interferences, the work of Anna Solal and Pierre Unal-Brunet is envisaged as a conjunction between two worlds, possibly conducive to mutual acculturation.