The first solo speaks of form, deformation, whilst the second addresses the trace, its potential disappearance or its lasting inscription. All of the questions which are in a perpetual work in progress in dance are thus displayed. Transforming the body by including other forms, or by working on gestural memory, are two issues addressed in this performance. Everything is extremely delicate and thought out, like the smears of colour that join a costume. Incorporer ce qui reste originates both from cannibalism and contagion. Follow this work!

Marie-Christine Vernay, Olga de Soto pas si solo, Libération (FR), March 14, 2006


From the front to the back of the stage, from the boy to the girl, from the dancer to the choreographer, from air to water, from its interior to its exterior, from the supple roundness of the balloon to the rigid, rectilinear edge of the heavy cube, this simple device suggests a thousand parallels from the outset. The subtlety however, taking stock of the distance, is the primary feature of this piece, which invites us into the floating pleasure of reflection, far more than pointing us towards the constraint of commentary.

Gérard Mayen, Transgressive Spaces, Mouvement (FR), March 31, 2004