In Anima/Animus, Luc Paradis’ third solo exhibition with Parisian Laundry the viewer is once again fully immersed into a scene through the artist’s holistic approach to exhibition making. Paradis has enveloped the bunker in a soft curtain suggesting the space of a theatre or performance. His canvases are installed on perpendicular stands that extend from the walls as if they were puppets to be manipulated from some unknown force behind the curtain. Their static imagery becomes activated by a sense of the potential for movement through this looming installation that heightens the notion of the theatrical. A life size head on a tall plinth rotates endlessly in the gallery space, prompting the scene in its persistent circular cycle. Moving across the room, we see that Paradis’ recent works represent beings in surreal non-spaces, at times they are faceless, genderless and hybrid, these figures are neither here nor there, one or the other, they represent a certain freedom or negation of specificity. As with surreal gestures of the past, Paradis offers the viewer moments of dreamlike projection onto bodies and imaginary places. While anchored in a physical experience, as we move around these props and puppets, the viewer becomes an actor in Paradis’ theatre, hypnotized by the incessant hum of a their automated counterpart. The thresholds of conscious and subconscious peel back, and the space opens up beyond the barriers separating viewer and subject.