In J.-B. Pontalis’s written work, he knew how to recognise in “sexual fetishism”, more than an aberration of love, its secret , In this way, therefore the fetish justifies the adoration , in the same way that the supposed primitive adores his own in virtue of the mysterious powers attributed.
In other words ,in Pilar Cossio’s work it is herself , that has gone , gone from those beautiful pointed shoes, in the same way as the Pavana dancer has abandoned her tutu and once free henceforth floats in the air clouded by a halo of light whilst on the ground a circular mirror transforms her interior into an abysm. Apart from that , who knows if it weren’t through this mirror that the ballerina escapes, in order that, eternally we note her absence?
DANIEL SOUTIF
Paris
