Redjaian’s most recent work has been influenced by her reading of French philosopher Gaston Bachelards “The Poetics of Space” . Bachelard was a phenomenologist, holding the view that there was a dynamic interplay between an active mind and its surroundings. He undertook a systematic study, or “topoanalysis,” of the “space we love” and begins his analysis with the house, arguing that it is always more than a purely functional configuration of orthogonal planes. Embodied and affective experiences make the structural rigidity of such spaces undeniably flexible, allowing room for poetry. Redjaian approaches the grid the way Bachelard reads the house. In her drawings on paper , textile works, wall drawings and installations using thread, the grid is never entirely dominant or only functional. She deploys ready-made or hand-drawn grids and lines as a framework for her geometric elaborations.
In her textile works, Redjaian takes the traditional carpets as a founding basis of a complex, multi-layered structure of threads, she carefully applies to the surface to form abstract patterns. While traditional carpets have the colored string woven into them, the artist puts them on top, semi-attached to the actual rug.
By allowing irregularities and deviations within this strict order, she acknowledges the ever-present and unforeseen surprises that make up our incomprehensible lives.