Véronique Aimonetto-Chevalier's painting is made up of calligraphic spaces. Her paintings-constellations in the form of stamps or luminous talismans, her carpets of symmetrically ordered signs evoke an orientalist imagination, but amnesiac of any religious reference. His palette borrows from Byzantine art the symbolic use of gold to delimit the sacred from the profane. Those who see his work as merely decorative are mistaken: this "aurification" is the expression of a desire for harmony and, undoubtedly, eternity. By quoting and repeating a motif or sign, Véronique Aimonetto-Chevalier builds and writes, with the patience of an illuminator, a calligraphy of the full and the loose.

In the verticality of the pure moment, she marvelously expresses the meeting of hand and brush that gives the signifier a sudden, calm importance, always surpassing that of the signified, transferring to the work of the letter the graphic impulses that could form a figure, illustrating what Roland Barthes called "the graph for nothing or the signifier without signified".