A wide Egyptian eye probing you. A giant hand waving at a flower. A suitcase, a man, and children playing with bi-color balloons. The Tourlicoulis world is now, trumpeting an actualized social harmony. Curves, curves, no harsh angles. Fullest, seamless continuity. Dreamy sensuality innocent of sexuality, a blissful world that undulates in the Eden of childhood. Here, the snakes are innocuous - Good and Evil not yet born or unleashed. The Tourlicoulis alone inhabit this world. Where Dante imagines nine circles in his Inferno, the circles of the Tourlicoulis’ paradise are myriad, infinite. The work, in its meticulous design, is playful and light. Shapes interact like oxygen bubbles, beautifully independent, free from each other. Sensual curves form whimsical, childish characters, exploding into waves of light. They often sink into deep seas, harmoniously... It is a dance, a choreography of the eternal - a carefree shape indeed, an essential tango of genuine joy. The dance is depicted, yes. But it is also aesthetically happening.