The "Sous le Soleil" edition was created in collaboration between the KPM Berlin and the artist Johanna Dumet. Dumet transferred female nude depictions onto dinner plates of the BERLIN Series by Enzo Mari and developed from it a visual concept in which the female body appears as an independent form without fixed attributions.

The motifs transcend traditional gender roles. Johanna Dumet creates a state in which external expectations play no role. She consciously breaks away from the male gaze, thereby referencing, for example, Paula Modersohn Becker’s “Self-Portrait on the 6th Wedding Anniversary” (1906), which is considered the first self-determined depiction of the female body. Dumet has transposed this approach into the present: here, intimacy appears not as a display, but as a space that belongs solely to the woman depicted. At the same time, references can be drawn to porcelain figures from the “ KPM Berlin .” Johann Gottfried Schadow’s “Prinzessinnengruppe” (1796), Louis Tuaillon’s “Amazone auf Pferd” (1924), and Adolph Amberg’s “Europa auf dem Stier” (1909) each represented a reimagining of the female figure. Their figures broke free from representational conventions and gained a physical presence. Dumet takes up this shift and translates it into a reduced, two-dimensional visual language.

Her bodies appear in calm, natural poses, without narrative embellishment. Therein lies a quiet radicalism: biographical topographies—the coasts of Saint Tropez and Denmark—condensed into an inner landscape that functions as a projection space for retreat and autonomy. During a two-month residency at the KPM master painting workshop, the French artist transferred her nude motifs by hand onto the dinner plates of the BERLIN Enzo Mari's series, each plate unique. Launched in 1996 BERLIN The series, whose formal interplay of contrasts is an homage to the German capital, symbolizes for Dumet another space of artistic freedom. The plates serve not only as a canvas but also stand as a metaphor for a lived table culture that fosters community and enriches life. With every bite, not only the act of eating unfolds, but also the essence of our being. "Sous le Soleil" thus articulates a quiet utopia. It depicts the female body without ascription, without dramatization, without hierarchy.