In Macbeth, Act IV, Scene 1, the second witch says, “Open the locks, whoever knocks!” With this incantation that invites the unknown, Théodore Melchior claims the permeability between worlds and urges a leap into fiction. His wooden sculptures, too, enter the stage like shady characters. Polychromatic, with abstract, indulgent, and dancing forms, they arrive accompanied by their cohort of pedestals, forming a strange, museum-like assembly. Théodore Melchior extends the narrative with texts displayed like the voice-overs of some unknown romantic knight, thus endowing his sculptures with a decidedly dramatic and human charge.