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Three orange triangles are floating on top of each other as a signal for an invisible but localised threat of a contamined space. Containers in brushed aluminium — entirely reflective material, blurred transparency like on burning tarmac — they seem inapt to stay unfailingly hermetic.

Curved under constraint, the reflexion on the sheets of aluminium seems to divide the triangular vice in three ovoid and elliptical cells. What was expected to be indivisible and enclosed — like the atom — split when we turn about.

Each column, with its restricted triangles, features the attempt to reduce to the least space possible. They seem in fall-back position, withdrawn from the inside like mimetically afraid, but the result of tightening is an offensive progress of their edges.