‘Miroir, Miroir’ takes its name from the French word for symmetry and references the everyday meaning of harmony, of beautiful proportions and balance - rather than the more exact understanding within science or mathematics. Harmony and balance speak to connected elements that add up to make a larger whole. These ideas can be understood in the twelve paintings of the exhibition which depict different locations across the world and that are connected by a distinct inquiry into shape and colour exploration. Perutz paints curved angles that represent trees grounded to the earth or lively branches, mountains, skies or suns. When more angular edges are introduced, and they often are, there is a nod to a more ominous or challenging context, such as forests in Oakland that are tricky to meander through or trees in L’aire Gironde that insulate and block from the outside world.

Urban iconography plays a large part in Perutz’s practice – with symbols, references and directional signage to be found in her painted landscapes.This approach integrates a lived, more human experience within nature itself. There are motifs or capacities in nature to consider, for example, the property of botanicals or healing elements of lavender and hibiscus. Perutz is in constant dialogue between human experience and nature, more so, she mediates her own experience through reciprocal interactions and considerations of nature. By channelling the environment - there is a striving for resolve and tranquillity. Perutz’s paintings have a cognizant, self-aware quality. Flat plains of colour are juxtaposed next to each and separated by fine lines. These plains may be visually simplified, but by reducing representation to its essence - sensorial synergy comes to the forefront.