“As she can not reasonably give life to a piece of wood, the artist decides to reverse the process. Spectators watch, live, a metamorphosis that is a little cold in the back. Lying on work benches, the children are transformed into inert puppets, who re-animate themselves and reclaim their bodies through dance. Live puppets? Dead children? “Pinocchio (s) live” crystallizes all the ambiguity of this demanding art. So much so that in the end, we do not know who pulls the strings. ”
Article by Emeline Collet for Le Parisien, May 2019