Paréidolies BY EMILIE BITAULD

To recognize that life is a dream we need evidences. To accept that this dream is not proper, it is necessary to overlap reality with what we call imagination. Without archetypes, that dream is an amoeba of amazing colors; but when you look through human language (semiotics, perhaps), you understand it as familiar or unknown as the universe you inhabit. Articulating or disarticulating are exercises (or mental games), which are either conscious or oneiric, give us satisfaction, because they show that we are not limited to living in concrete, tangible and shared reality. We discover that within that omnipotent dream bifurcate as many as the brains that swim as amoebas within it; light, darkness, time and colors are the arcanes hidden in the psyche, and the key to deciphering them is in the imagination.

Angel Diaz Sabag, 2019

The works (of the Pareidolies series) presented by Emilie Bitauld (...), although drawn from the real and immediately identifiable, are perceptual stimuli and trigger cognitive mechanisms identical to those provoked by the Rorschach test.

Sebastien Rouet, 2019

In the Paréidolies series, a bit like in the singular art, I hope to remain in a certain naivety: the naivety of the forms that we distinguish in the clouds, a form of uncertainty, of indefiniteness, of lightness. The theme of the «creatures» returns of itself, because it is playful, a bit like in the surrealistic exercise of the exquisite corpse. It’s a game, a walk. It’s the kind of drawing you have to make with a smile on your lips. A bit like in the state of grace described by Deepack Chopra by the word “superfluidity”.

Emilie Bitauld, 2019