Véronique Aimonetto-Chevalier's painting is made up of calligraphic spaces. Her constellation-like paintings in the form of luminous stamps or talismans, her symmetrically arranged carpets of signs evoke an orientalising imagination but one devoid of any religious reference. Her palette borrows from Byzantine art the symbolic use of gold to delimit the sacred space from the profane. Those who see her work as merely decorative painting are mistaken: this "gilding" is the expression of a desire for harmony and, undoubtedly, eternity. Through the quotation and repetition of motifs or signs, Véronique Aimonetto-Chevalier constructs and writes, with the patience of an illuminator, a calligraphy of full and delicate strokes.

She expresses, wonderfully, in the verticality of the pure moment, this encounter between the hand and the brush that gives the signifier a sudden and calm importance, always exceeding that of the signified, transferring to the work of the letter the graphic impulses that could take shape, illustrating what Roland Barthes called "the graph for nothing or the signifier without signified".