Bernard Cadoret, leading figure of French, maritime ethnology and founder of the review, Le Chasse-Marée :
I’m convinced that these boxes are part of our heritage in that they include an enormous number of things that are verifiable. She works with archives, she studies local news bulletins relating events and adventures at sea that could have occurred at the end of the 19th or the beginning of the 20th centuries.
Some of these boxes have long texts that relate stories that are synthetic constructs, frozen in an instant of time within her dioramas. “Caught” isn’t the right word because she manages to give the billowing of her sails, the flight of her gulls, the way her waves break or not… it’s all felt with an exactitude that moves me a great deal and I confess that I share her sensibility, I admire it. She’s my soulmate in matters of the sea, and plenty of other people could surely say the same thing. She expresses really well what seems clumsy when we try to express it in writing, she expresses it really well through her art, about which she says little, she creates it.
It’s the way she lends life to the sea, the fact that she has sailed—and on a traditional boat what’s more—that’s important after all: it means that she avoids all the pitfalls and traps that exist in this sort of work. Maritime painting, whether it’s done by Paul Emile Pajot, or by an academic painter, has to be perfect as it relates to sails and sailing.
So that’s not something to neglect, but nonetheless it’s infinitely less important than the enormously rich inner life that she has, that she expresses very little in words, but which she lives out in her workshop when she realises in three dimensions the visions she has, visions that are poetic and, you could almost say, ethnographic.
And personally I greatly admire the sensibility and finesse with which she accomplishes it