The work of the French artist Anne-Marie Schneider (1962) is dominated by the practice of drawing: pencil, Indian ink, charcoal, gouache and acrylic. These spontaneously-sketched forms look like automatic writing, a sort of diary inhabited by grotesque figures. She treats her private world and the public sphere with equal consideration. Oscillating between personal and social dramas, her drawings are thus sketched sometimes with fragile sensitivity, sometimes with caustic humour. These traumatic events are manifested by the body, the repository of emotions, which they work through: the bodies are tortured, deformed, stretched and strained. The drawings which evoke intimate themes (sexuality, maternity, identity disorders, etc.) offer a counterpoint to more engaged drawings that deal with current events (man’s alienation through machines, refugee crises, the still precarious status of women, etc.). This is not a political attitude however, but instead a need for the artist to anchor herself in the reality of the outside world. Dreamlike images and fantasies are displayed alongside a harsh, sometimes cruel vision of reality.