In La Préférence pour le primitif, Ernst Gombrich explores the idea that ancient, less elaborate works of art are morally and aesthetically superior to the embellished, refined works of later periods. The author shows how these simple forms reoccur in the history of visual arts, peaking in the 20th century. Viewing simple and archaic

forms as endowed with immortality is a Platonic idea, in that the creation of an illusion is rejected at the expense of conveying an intelligible idea, which is all the more perceptible if the senses are not over-solicited.

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Kethevane Cellard plays with textures and invites us to cross thresholds and initiate encounters. The forms are clearly defined, but not definitive: who’s to know if they’re not pregnant with another form, or evolving into another material? She is unlike artists who display what they have seen; her creative impulse is more complex. It runs through the written word, interacts with texts, and metabolizes in her drawings and sculptures. She draws inspiration from poetry and science, creates mysteries, one-off solutions, improbable equilibria, and the innermost challenges of children and of those who keep watch.

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