To rediscover the joy of painting suggested, poetically, that the three sisters call their pictorial renaissance “entertainment of the soul”.

Bastelica’s new writing is characterised above all by a stylisation of the subjects – formal simplicity – an energy in the line, a power in the effect produced, and an effect, and an even greater dilection for bright colours. We are in
We are in a new combinatory world of forms.
With the narrative taking a back seat, their renewed painting creates an effect of great freedom and
freedom and therefore arouses direct emotion.
The idea of taking two different and simultaneous paths as a representation of the genres
is a great originality.

The first, which we will call linear, seeks a “ribbon effect” and expresses, in the minds of the three sisters, the feminine.
expresses the feminine in the minds of the three sisters. The other, geometric, personifies the masculine.
The treatment of the backgrounds, in a dreamlike or magical vein (Les Trois Grasse is an example of this), remains from the earlier period.
Trois Grasse is the most convincing example). There remains, too, the game that inspired them, from the very beginning, their distinctive trinity: to put their distinctive trinity: putting three characters in their paintings or integrating the same sign three times.
the same sign three times.

As there was no reason to change the signature: the “B”, without a bar, of Bastélica is, is itself an open three.
Has Bastelica, the multiplied painter, the unique signatory of collective works invented a new “New Figuration”?
new “New Figuration”? References to other painters necessarily exist.
But the painting of the three sisters is now situated, like their canvas of the same name, in an “elsewhere
But the three sisters’ paintings, like their canvas of the same name, are now situated in an “elsewhere” that everyone is called upon to name and appropriate.