Maïlys of the Acacias, or The Lady in the Red Apron  

      
Do you know Passage Idem?
It is an alleyway off the rue du Montparnasse on your way up from the Boulevard du Montparnasse on the left-hand side of number 49.
However, if you walk from Boulevard Edgard Quinet you will come across Passage Idem on your way to Boulevard du Montparnasse, still at number 49, but on your right-hand side. Right after the Quiberon.
I have come to Passage Idem to tell you about the lady in the red apron – Maïlys Seydoux. There you can see her sail beautiful rafts. So, when she asked me – offered me, really – to board one of them, I hardly hesitated. 
It is tough sailing, finding your way among the machines, the big paddleboats that rattle and click and clank along, immobile and even-paced like the steam pistons that made them – in Tinguely’s long shadow. 
You need to get to the bottom of the nave to find the crime scene. Beyond that, there is only a wall.
The lady in red joins an experienced crew who maneuvers under the guidance of a well-travelled quartermaster.
She sails visually, no sounding required. She takes all the risks and unorthodox tacks but she always reaches the port safe and sound. Even when she is about to send a distress signal, she regains her footing and resumes her course with unexpected elegance. Maïlys Seydoux is bold enough to paint all that cannot be said or even seen differently. Using a light, musical stroke to depict serious, sobering matters. 
Passage Idem is where the lithographs that make up her three albums were produced: Par-Dessus Par-Dessous, Haut Delà and Kimaniki. A threefold sequence accompanied by texts by Haïm Kern.

Haïm Kern
Translation Élise Trogrlic