Since the 2000s, under the cross-influences of Turrell, Brakhage, Rothko and Beckett (and, from 1991, of Pollock, for her first materialist period), Anne-Sarah Le Meur has explored in a radical way the plastic potential of luminous phenomena in the virtual three-dimensional space. Reversing a parameter, she discovered in 2003 a black light, polysemous and fascinating, which then structured her various generative pieces and performances. For DixVerts, she focuses on green hues, reputed to be arduous, but invigorating, accompanying them with caressing gray and pink counterpoints. Written in 'Obscur', his own software, tested slowly and patiently, his programs control the variations of multiple parameters over time. The loops modulate the compositions, induce repetition or gradation, nuance or opposition, slowness, acceleration or rupture. Thus emerges an evolving ballet, continually changing, magnified in a polyptych of shadows and colorful veils.