The continuity of Lucille Uhlrich’s work lies in her conviction that there is no progress in Art, but rather a conjugation of epochs and styles where meaning and wonder meet in what a thinker like Walter Benjamin calls ‘dialectical images’. To produce such images, he telescopes and assembles technical means with the aim of producing graphic syntagms whose ambiguity and polymorphism challenge the viewer at the heart of his own way of understanding and making sense. Plastically, then, his work is characterised by an open play with the reference to languages and by a certain taste for inventing unstable balances that renew the perception of associations between materials and forms.