Menez's work displays an ambiguity between abstraction and figuration, even when it adopts a clearly figurative resolution. After her first exhibition in 1954 a more abstract phase is evident, while the 1980s and 1990s are characterised by a production with a more figurative presence.

However, a small work like this gouache illustrates perfectly how Menez makes two forms of space construction coincide on the same plane, blurring the distinction between abstraction and figuration. Or rather: by constructing a wide space for freely abstract forms to express themselves.

In fact, Menez suggests a perspective space for the background of the composition: the earthy diagonal on the right side joins the vanishing point towards which the ochre plane advances. In the background, on this horizon line, she paints a twilight hour with the suggestion of illuminated clouds. This is the space in which the jumble of abstract forms that we observe in the foreground is arranged: convulsed lines and stains of various shades (red, green, blue, pink, green, white, yellow) seem to contort themselves in the expression of something that cannot effectively take on a concrete form or a name. A suggestion of a disfigured face, of a hand or claw that emerges. The disfigured two-dimensionality of these forms inhabits the space of the work and thus Menez reveals that the plastic dichotomies are only apparent. Painting is the space for the expression of what has no name or form, but which is no less real because of it.