In @eglaessn's works the moments that unite the composition of the painting with its narrative seem to have been appeased by an asserted distancing from any temptation of reality. A leg disappears in the rift of the two joined canvases that make up Rabid Hole (image 1) and if the progression of the painting suggests it, a pair of legs will end in the heads of birds in Dead Can Dance (image 2) imprinting a surrealist dimension to a painting ultimately closer to symbolism, where pessimism, esotericism and melancholy seem engaged in a three-step waltz. – Eric Troncy On view at Perrotin Paris until October 8 — @eglaessn #PerrotinParis #Perrotin __ Elizabeth GLAESSNER, Rabid Hole, 2022 Elizabeth GLAESSNER, Dead Can Dance, 2020 Courtesy of the artist and Perrotin