Art lies halfway between scientific knowledge and mythical or magical thought. It is common knowledge that the artist is both something of a scientist and a bricoleur: By his craftsmanship he constructs a material object which is also an object of knowledge.
Claude Lévi-Strauss, The Savage Mind, 1962
As a concept, NO DIVISION NO CUT refers to the notion that all form is in itself a connecting element between nature and culture, where each of their categories and subdivisions come into play. Form is understood as a motif and pattern, but also as a body, symbol or survival strategy that acts on its surroundings. Here, it has to do with recognizing the form that serves as a common element, capable of passing from one world to the next and creating a random or functional association.
In this new production, most of it completed in Mexico, Éléonore False created a work of visibility of certain forms from a series of motifs, objects, traces and apparitions. With simple and precise gestures, throughout her creative process she extracts and manipulates to make visible above all what has already been seen. This surgery allows her to recompose and breathe a different life into fragments that confront each other after these gestures, this time autonomously. One after the other, they slowly end up composing something we could call a personal operation system.
Seeing the Living
The word mirar, to look, has an ancient definition that designates the doctor, the mire, the person that looks attentively.  In this sense, to look is to understand in order to heal. I wonder if Éléonore, through her practice based on the deliberate selection of particular elements—sometimes very small or apparently insignificant—seeks to heal. However, her course of action is clearly similar to the gaze of someone that sees in things a power, a reason, a meaning that others don’t see. She seems to recognize them and can understand images as if they were living beings, beyond their bi-dimensionality.
The way of proceeding is above all intuitive, and—in the artist’s own words—it’s similar to a game or an archaic method of knowledge. As I go after the trail of a science of the concrete, I come across an allusion to the following process in this quote by anthropologist Claude Lévi-Strauss: “The real problem is not whether the touch of a woodpecker’s beak does in fact cure toothache. It is rather whether there is a point of view from which a woodpecker’s beak and a man’s tooth can be seen as ‘going together’, and whether some initial order can be introduced in the universe by means of these groupings”. 
This way of thinking and creating formal relationships is related to the act of connecting the primitive roots of human culture. This series of works bears witness to the absence of a technological quest in its processes. Instead, there is a desire to experience direct manipulation, an approach to ancient techniques where hand, eye and body are the primary instruments of creation, whether for measuring, uniting or translating. To move from one technique to another and from one format to the next is in itself a willingness to express differently something that has already been expressed another way: the photocopy’s surface becomes fabric; a cut-out image becomes ceramic. In the end, everything looks alike; form only dresses or undresses depending on the environment and according to its own needs.
And, suddenly, colour appeared.
NO DIVISION NO CUT is Éléonore False’s first exhibition in Mexico. Draw My Breath, a solo exhibition including part of the production created in Mexico was shown simultaneously in Glassbox, in Paris, from May 20 to June 11, 2016.