The work She presents itself as a ceramic column composed of a succession of circular shapes. Its verticality is marked by alternating curves, whose regular variations generate a rhythmic visual effect while ensuring the coherence of the whole. The piece's glaze presents a clear and striking contrast: a black pattern flows over a white surface, suggesting a flow of ink or the inscription of a coded language on a blank surface. The pattern of drips, whose direction is successively reversed, creates a graphic composition. This visual contrast clearly refers to the perceptual games specific to Optical Art, generating a dynamic illusion that activates the viewer's gaze and modifies their perception of the sculptural form. The column's profile, stretched by its soft lines and curves, gives it an anthropomorphic dimension that evokes a human silhouette and something alien. Thus, the sculpture navigates between human and almost extraterrestrial references, creating an open space for interpretation, between familiarity and otherness. By following a tradition of vertical totemic sculptures designed by Ettore Sottsass in the 1960s and 1970s, She can be seen as a contemporary reformulation of the totem. It thus articulates a sculptural approach rooted in the history of design and radical architecture, while mobilizing the technical potential of 3D printing and the perceptual effects of the enameled surface.