Margot
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Margot’s art contains a plea for recognition that we are all part of this universal 
whole and that we should engage with it all with love and respect. The indeter­
minacy of her forms is part of this. As she says, “I realised, in effect, that my 
work was on the boundary between figurative and abstract. And that pleased 
me a lot, even though it wasn’t intentional on my part.” Indeed, it was only 
others repeatedly asking the question that made her think about it. “I think I 
like it,” she says, “because the viewer has to look at the drawing from a less con­
ventional angle. It’s like in life. The doors must be left open so as not to restrict 
thought and vision of the world around us.” Fluidity and hybridity are impor­
tant expressive qualities here. She invokes Aldous Huxley’s famous dictum that, 
“If the doors of perception were cleaned, each thing would appear to man as it 
is, infinite.” Objects that are in a state of flux and constant becoming offer 
imaginative access to the universal whole. “I believe that the doors are our bod­
ies,” says Margot, “and that we shouldn’t restrict ourselves to the boundaries of 
our bodies. We are much more.”  
Margot in her studio. Photo: Monique Dohogne

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