The exhibition’s title references fractals, which, according to the Fractal Foundation, are “never-ending, infinitely complex patterns that are self-similar across different scales.” This comes into play with the mechanics of Soulier’s construction of the sets as documented in the large-scale color photographs that make up the larger part of the exhibition. It’s all repetition of objects and motifs — some beneath the threshold of easy notice.
In “The Square Roots 3” (2016), the green wallpaper is a pattern of alternating nested boxes. The central figure in the scene, a young boy, sits on a cross-sectioned staircase that is also essentially a series of boxes within which are further elaborations on this theme: small rooms that contain square cubbyholes for books, a partially laid floor foundation that reveals a lattice of rectangles beneath it, a drawer spilling out building blocks. Even the boy’s belt contains the wallpaper’s pattern in reversed colors. The work rewards your looking: upon closer inspection, the fractal trickery seems to play out almost infinitely, making delight verge on delirium.