'The Altars' started as still lives in the artist’s studio, trembling, silent sculptures made from sprayed found objects. Yet for Coste, the Altars could not remain in that remote silence anymore. Galvanised by the street life sounds of dissidence and the sounds of police violence and brutality, the Altars were transformed into accusers of power abuse. The power abuse in refusing liberty of movement to whom they call migrants, in refusing liberty of speech to protesters demanding socioeconomic green justice, in refusing a free way of living through unbearably costly surveillance technologies, in refusing dignity by exploiting people with very low paid jobs and modern slavery, in refusing equality among human beings by perpetuating a hierarchical humanity divided in genders and races.

Anne-Lise Coste’s Altars are not only accusers, but also prophetic sculptures announcing the end of all forms of violence, desired to be a remembrance of a past and obsolete time.