In most Indo-European languages, except in Greek, the word "wall" refers to an "enclosure". The word is actually derived from mû, "to bind", which later gave rise to mûta evoking a "woven basket", while in Old German want ("wall") comes from the verb wintan, which also means "to bind", "to plait". In addition, a wall is "a wall resulting from braiding ».
Mûta sculptures is the allegory of these four terms, and it deals with etymology, "wall" and "frontier", which have had changing meanings from one period to another, and from one language to another, it is important to follow their evolution.
Mû, mûta, wintan and want have been treated in such a way as to illustrate a threshold established by a reading of the word and the origin from which it came.
The choice of a woollen sculptures is to materialise the wall by keeping the idea of "braiding" where the wall does not separate but binds. The braided thread of white wool is flexible and cannot be a wall in the sense of a "solid" separating wall, but a limit in the sense of a frontier like on map as an example.
The words "Mû", "mûta", "wintan" and "want" become thresholds, the link between two contiguous spaces. The threshold line is braided.
The words Mû and Mûta represent a physical obstacle, the letters closing off the space, while the representation of wintan and want, two distinct threads, do not define the space as such because they could intertwine, blurring the place of the threshold and the obvious space between inside and outside.
Each word has its own meaning, giving the word threshold a communicative dimension that goes beyond its functional and aesthetic aspects. Each of the words Mû, Mûta, Wintan and Want, in their almost naive and poetic form, give us a glimpse of the threshold beyond the narrative, like an open limit, with the reading of the threshold becoming a point of encounter and exploration.
