The processing of clay is one of the oldest practices of the human race, which, as it were, is recorded in our DNA, and is associated with the origins of humankind in many genesis myths. The relationship between Courtillot and the clay is symbiotic; like a shaman who interprets and transmits the voices of the hereafter, she allows an intuitive and telluric power to guide the development of these first malleable entities, which undergo a kind of geological transformation in the baking process in the furnace, and then reappear as fossils bleached by the sun.
These erratic shapes created by sedimentation reflect the image of natural formations that may resemble miniature landscapes in a similar way as seen in Chinese “Scholar’s Stones” . However, they can also be experienced as internal visions of organic constellations; as crystallisations of fleeting emotions and driving forces of the subconscious and the psyche.These echoes of avant-garde compositions of art movements from the beginning of the 20th century resonate in these sculptures, with their glazed appearance to be perceived as glittering gems from the darkness of the entrails of the earth or the seabed; as if the formal vocabulary of modernity has been left as a collective myth on the beach of our psyche. In an attempt to allow the viewer to experience the poetry of the primal (myths), the circle of petrified protagonists becomes a symbolic monument of the power of intuition.