Shortly after World War II, Louise Janin brought together her interest in Oriental art, Musicalism, and Symbolism to develop a series she called cosmogrammes. Throughout her career, Janin favored existential themes and absolute ideas, and the cosmogrammes offered her a way to explore both science and spirituality through art. For her, they became a bridge between nature and humanity. Within these compositions, metamorphic shapes suggest plants, landscapes, and flowers—forms more imagined than real. Their poetic character emerges from capillary effects created by mixing pigments with various substances, producing surfaces where color flows, sometimes forcefully, sometimes delicately fading. Janin pursued this experimental process for over a decade, working primarily on small-scale pieces, each one a condensed vision of a cosmic world in transformation.
