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In Fifty-Fifty, Sophie Dumont constructs the library as a true architecture of forms. The books, aligned, superimposed or interrupted, organize the surface in a succession of verticals and horizontals that give the composition its rhythm.

The deliberately limited palette combines off-whites, greys, beiges, ochres, and browns with a few deeper tones. The paint, worked through successive layers, scraping, and reworking, disrupts the regularity of the composition and reveals traces of the painterly process.

At the boundary between representation and abstraction, Fifty-Fifty belongs to Sophie Dumont's Libraries series while asserting a particularly prominent geometry. The books remain recognizable, but also become lines, volumes, and surfaces.