In the works of Emery – declined in a subtle balance between figuration and abstraction, reality and symbol, around the vast European informal season – we always see a double movement: on one side there is a natural background, simple, rhythmic and organically structured : the possible transfiguration of a field, a meadow, a hill, a tree: branches, arabesques, interlacing, leaves; on the other side the fund, the basis is moved, scratched, dented by a series of signs and gestures, presences and ghosts that arise as other, as the other, and that, however, seek a communion, a unit , a merger. There is an external world and there is an internal world. There is a symmetry and there is chaos. There is a microcosm and a macrocosm. There is nature and there is consciousness and his anxiety that investigates and explores this immense, contradictory universe.