Ghislaine Portalis develops an artistic universe in which she associates a relationship to touch and echoes to art history. The artist relies on the premises, the Pavillon de Vendôme will be the setting, to develop its creation and reinterpret including works and objects dating from the 18th century. Her artistic practice is part of a quest for the feminine. Drawings, glass or porcelain pieces are like sculptures or transformed objects, between the domestic and the wild, between the adornment and the impossibility of being used. She interprets engravings of wigs that illustrate plates of Diderot and Alembert and creates works inviting to imagine new forms. His large papers are also stitched with a needle: works that appear in the light. Ghislaine Portalis then leads us to think about the evolution of the status of the woman, from the mistress of the house to her emancipation. She very often uses black and pink, two contrasting colors that highlight the possibility of one in between, feminine/ masculine. His works, play on a movement between opening and closing, hidden and unveiled and are somehow allegories of beauty in all its intimacy.