Mi-figurative, half-abstract, his art travels between the two. In the curves and the loose arise from faces, bodies, sensations, movements, rhythms. In this ballet of sensations, sometimes mythological creatures emerge, summoning allegories and memories, inviting the spectator to enter the dance. Create living forms, in search of Harmonilorsque Laure Polin Sculpt, she perceives the space that her works will have to take possession. She does not shape her works from the outside, as a stone can be attacked by the chisel, but on the contrary it shapes them in the very hollow of their intimacy. It does not perceive a difference between an abstract form or a figurative form. Whether it achieves a bust, or an abstract sculpture inspired by an inner model, Laure Polin simply seeks to create living forms. A living form is a form in drive, full, tenuous, which ties a sound relationship with another form . A sculpture is a set of volumes that are echoed and get into each other. From this agreement must arise harmony. His sculpture belongs to the area of discovery. When it sculpts, it does not seek to reproduce a pre -established form but builds a form which illustrates the feeling it carries. An intuitive plastic path & nbsp; at the beginning, it is indecision: the open field of so many possibilities. Indecision leads to research: Laure Polin is looking for a trace, an imprint, a benchmark, a memory in the material, an index ... It size, sand, shakes up matter. So something occurs: a detail sometimes tiny, like an echo or on the contrary as a call. She recognizes an eye, a back, a vertebra, the sketch of a framework, a construction, a movement ... In reality, Laure Polin recognizes the beginning of a soul (of her soul?), The beginning of a structure, the beginning of a work. Then the sculpture takes a form. The one she wore without her knowledge? The one who was buried in the matter? Regardless, it will be the one that emerges from all its sensations of the present moment.