It is a vertical approach, a solid construction that stands before us, like a medieval statue, possibly an unconscious reminder of the Romanesque sculpture that Gérard Schneider especially appreciated. There is even in these straight, hieratic forms, a distant echo of the tribal masks of African art that were (re) discovered during the 20th century, amongst others through the spectacular collection of tribal art belonging to André Breton, the leader of Surrealism.
In this artwork, black gives structure to the composition. In contrast, the white areas, like an intake of air, are a breath. Hollows and full areas are drawn, like a half-round sculpture.
The line appears to be rigid, nevertheless colorful brushstrokes thwarts this vertical solidity. The equilibrium becomes precarious, everything is in about to move.