This work belongs to Verdier’s Retables (2024), a series in which she adopts the structure of a winged altarpiece outside any religious context, using abstract motifs to evoke natural phenomena. Developed following her 2022 response to Grünewald’s Isenheim Altarpiece at the Musée Unterlinden and subsequent research on Italian altarpieces in Florence, the series led her to design her own supporting structures. Titled Dans l’air des hautes terres, the painting continues her exploration of invisible forces – gravity, wind and vibration – evoking the intensified currents of mountain air and monumentalising the elements through the altarpiece form.