When Nicole Teulière makes the invisible become visible.*
To annihilate time, erase its cruelty, trap it in a chrysalis, make it fly into pieces of light, mark out the hours, the days, life, “one’s life” through a variety of shades, materials, and
Past and future fill this empty space, sometimes weaved by painful memories making timeless symbols out of them, in which the mental dominates like a spiritual vector.
This language allows us to fit the work into its environment but also into its mystical dimension, the one in which one recovers one’s peace, a peace we all long for in a confused
Her sculptures are a tangible demonstration of the ambiguity and the fleetingness of “ the Eternal Feminine” so often celebrated, a demonstration of this quest for immortality that
only the work of art in its wider sense can make us glimpse.
A strange, beautiful, unsettling Minerva, an Aphrodite, as well as a Venetian beauty, resolutely contemporary, provocative, erotic in its disturbing nudity with a voluntarily
aggressive note and from which vulgarity is excluded.
Finally, quiet, appeased, with a rounded stomach, the eternal woman…
The power of imagination is called upon, all the more as Nicole Teuliere-Ratti offers us only a fragmentary inkling of a poetic reality that we make ours.
Her enigmatic busts, the glass armour of an invisible Diana are bound to call upon our emotions
Outstanding for its skill, the work of Nicole Teulière-Ratti definitely recalls the work of “Tiffany Studio” and its famous glass marquetry.
There are no flaws in the harmony of colours, and in the way she deals with the material.
This is an art which is sometimes Byzantine or made of pieces of molten glass worthy of an Argy-Rousseau, delicately irrigated by pewter veins.