Sir Michael Edwards, Emeritus Professor of Collège de France, writes in his essay “Seeing in Sculpture” on the works of Greg Wyatt, found in the collection Magie de la ressemblance (2020) that, “In Winged Nike the viewer sees matter becoming form, imagination taking shape, and myth beginning to emerge from the magma of existence.” He continues: “Her [Victory’s] torso thrusts forwards and upwards, but her legs are still covered in what one can imagine as the swirling and life-giving matter of the world, her arms are absent and her features not yet moulded, though, with head thrust back, she too prepares to gaze at the sky. The work is a powerful image–in its voluntary incompleteness, its creation of a future–of unceasing aspiration. It is an allegory of humanity and of sculpture, the work of sculpture, the end it seeks to accomplish, being to suggest, by its finding of form in matter, our discovery of spirit in the body, in our own and in the body of the world…Smooth bronze, even when flickering like candlelight, can be very still, as can a surface intensely worked, especially when heavy with realistic details. Here, the rising forms at the base of the work, with protruding shapes that either suggest a rapid and spiraling movement or grasp at the ambient air, lead to a stretched and, as it seems, miraculously smooth torso, which is given in turn another kind of mobility by the thronging thereness of the wings, limbs for flying which, by their elaborate closeness to the real wings of birds, recall again the actual world of the senses, not over which but in which victory is enacted.”