Title inspired by a poem by Anne Perrier.
The collage/assemblage is constructed in two superimposed registers, almost like a diptych in four parts:
At the top, an area of ​​vibrant color, an incandescent, almost solar, yellow-orange with a granular texture, riddled with small splashes of red. This orange block occupies the left side of the painting, framed by paler bands scratched with fine lines.
At the bottom, a large, flat, matte black, almost absorbent area occupies most of the frame, with a few vertical white streaks that evoke a shower of residual light or scratches (made with a metal spatula) as if the light from above were leaving a trace, a memory, in the darkness below. On the left, a white rectangle outlined with a clean black line, crossed by fine lines.

The poem to which the title refers, taken from The Nomadic Way, evokes a desire for dissolution: the desire to slip one's shadow into a still light, to be transformed into words that have become pure lightness, into flight. It is a paradoxical movement: moving toward stillness in order to ultimately become lighter and take flight.
The still light finds its echo in the orange block at the top, a fixed, almost mineral, granular light that does not flicker but weighs heavily on the surface. It is a solid, almost tactile light, far removed from a fleeting brilliance.

The lightening and the flight are manifested in the fine lines suspended in the white rectangle at the bottom left, almost immaterial threads that seem to float, light, like writing reduced to its faintest trace.