For her second exhibition at the gallery, Jessica Russ' practice takes a more floral turn. Entitled Géopélie Diamant in homage to one of the inhabitants of the aviaries opposite her studio in the Parc de Mon-Repos, this exhibition highlights more than ever what the artist has developed as one of the two constitutive elements of her practice: the immoderate use of colour, with increasingly pastel and luminous mixtures.

Her recent compositions are becoming more complex, with the association of shapes and colours becoming denser to the point of losing sight of any possible hierarchy between the background of the canvas and its subject. In the canvases presented here, the artist guides us somewhat in our reading by highlighting the forms she wishes to bring to the fore. In so doing, the distance that might previously have existed in some of her compositions fades away, in favour of a focus on the subject of the canvas.

The second aspect of Jessica Russ's practice is the search for ambiguity of form, which develops exponentially in her canvases. To achieve this, she has created a database of photographs taken on walks, screen captures and notes, all visual supports that serve as a starting point.

The interweaving of all the elements present on the canvas takes the direction of a certain elusive figuration. More than ever, pareidolia, the process that occurs when visual stimuli lead us to recognize a familiar form in a landscape, a cloud or smoke, is present in her paintings, giving them an effect akin to optical illusion. In these a priori abstract forms, a kind of mental landscape for the artist, a myriad of apparitions, more or less organic, vegetal and sometimes corporeal, are made and unmade in the viewer's head. Each viewer can receive the image according to their own experience of the moment and the composition. The possible re-readings of the work are infinite.