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Windows onto the Infinite
flowing hair arranged across what might be sleeves or some sort of aura, for ex­
ample. And a dozen or more smaller schematic figures are arranged along the 
lower quarter of the drawing, suggesting a hieratic proportioning common in 
late medieval religious imagery. Feather and plant motifs are commonly used as 
structural motifs in compositions. She tells us: 
In my drawings there are a lot of doors, stairs, women, a few men on their own, hermaph­
rodites, beetles, the representation that I have of the galaxy, the universe, feathers, the sun 
and the moon, lovers, trees. There is a representation of the natural world. In my drawings, 
characters kiss and sometimes do more than kiss. It’s either men or two women, or a man 
and a woman, or both. Love is universal and it’s the only value that’s worthy. These two 
beings are together because neither of the two want to have power over the other. When I 
draw these two characters, I am reminded that the notion of love still exists. I tell myself 
that they are symbolic. It’s a message for everyone and the characters are each of us. Our 
environment also needs this Love. Humans believes they have power over nature. They 
aren’t aware that they are part of nature, inseparable. 
Margot in her studio. Photo: Monique Dohogne

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