In a first corpus, great landscapes allow to glimpse by the distant crackles of illuminated cities the traces of a still discrete human activity. Focus is then reduce to highlight the assets. Workmen erect the foundations of the City of Light on large muddy sites.
The architecture is still bare, the characters are busy, triturate their materials in a ballet stapler. The masses of concrete rise, sharp silhouettes with openwork contours, echoes of the ancient temples.
Even closer, the colorful vase of the soil is pressed to the surface and the table fills. The bodies cut out the spaces of the canvas, the edges of the painting fragment their anatomy. New figures appear. The workers are transformed into archaeologists, their gestures concentrated on erecting henceforth exhumation. It is a panorama of inhabited space and time that Arthur Aillaud gives us to see without criticism. A look calmly placed on the image of the man builder, busy presence in a placid nature, become silent again when we turn our backs.