Emerentia develops different figures already present in the original process. These different directions remain networked thematically and the stories are spun with each other like in a spider net.

So Emerentia II has many faces and takes different forms. She has, so to speak, many dresses: once the red cape offering her protection, becomes a second “skin” (refering “Peau d’âne”), once the red kimono covering herself (with the white fox’s mask in the Asian fox’s woman Kitsune) or the red dress which reminds softly like a poppy of the transitoriness, in the water as a skulpturale form around herself, floating likely as the body would have already disappeared. Here refers the picture of the drowning young woman on Shakepeare’s Ophelie in Hamlet.

It trades from the presence of the death – the brother of the sleep, the apparent death, the fairy tale death, the premonition of death – from transformations, metmorphoses, compound states, from worlds of fantasy, underworlds / interworlds, fairytale worlds – from fabulous creatures, the conversion from person – animal, from chimera and female figures.

“Unheimlich”, what we could translate by a “disturbing strangeness” is an expression just for this neighborhood between a latent fear, of a concern, and the word “Heim” which means “at home”.