Plexiglass has become one of her favorite supports: this smooth and transparent material does not absorb paint and gives real depth to the colors. What is unusual is that Fanny uses it on two sides:

• the “back” side on which each element of the painting is inserted, where each shape, pattern, animal or flora of the landscape takes shape and is colored uniformly. This side of the work has two or more plans, because each table is covered with a solid background, like the deep blue of the JELLYFISHES series or the desert beige of Cream CACTUS.
• the "front" side on which the relief energizes the creation. This surface is very tactile: it invites our fingers to caress this three-dimensional material like the flowers of cacti, the raindrops on the leaves or the jellyfish tentacles.

It is with acrylic that Fanny expresses herself. Always in multicolor, despite certain challenges that she sets out to do, such as the CITY series, where she tries to make a cityscape "pop" and hectic, with no more than three different colors and geometric shapes only.  "Neon" cacti, jellyfish with "flashy" tentacles, fish in shades of blue, copper leaves are the heart of her creations. Acrylic offers matt, pearly, transparent effects, giving Fanny's creations multiple possibilities to play with.
We find, in her workshop, painting in all its forms: in tubes, in pots, in aerosol, in felt pens too, with a panel of varied colors but fairly focused on shades of blue, very present in her creations.

For each painting, she uses different tools where each one intervenes at a precise stage of the design.
The "original" drawing, in pencil or felt-tip pen, is the beginning of all production. On kraft paper, Fanny draws the "big lines" of her paintings and that's when her imagination takes shape, to give birth to cactus forests, lighted buildings or jellyfish dancing their ballet.

The Plexiglass board, still blank, placed on the primary drawing, will quickly get dressed in acrylic through various tools such as felt, brush, roller, and sometimes even the finger. It is during this stage that the first colors arise to cover the "back side" according to the patterns, shapes, fauna and flora that make up the work in progress. It is precisely, even on large surfaces, that Fanny deposits the paint, taking pleasure in juxtaposing the colors with frenzy, like a race that she delights in never finishing in order to start again with other mixes, other desires for new surprises.

Once the excitement of the choice of colors has subsided, and the necessary drying time has passed, a last coat of paint is applied, covering the first, most often with aerosol, in order to obtain a uniform background and to add depth on the board. This is why the black color of the Black CACTUS collection or the blue of the underwater depths of the CHIP THE FISH or JELLIFISHES series are so intense.

At this point, all the painting part on the “back” side is finished. Let’s go to the “front” side on which Fanny applies relief paint. The flowers of the cacti, certain buildings, the tentacles of the jellyfish or the raindrops on the leaves are painted on the other side of the Plexiglass board and they are all in three dimensions. One of the peculiarities of Fanny Autran's paintings is being able to touch this "recto" which gives the whole "pop" dimension to the painting and makes the patterns inaccessible, as if they were in the case of their display case.

It takes no less than five tools, countless tubes and pots of different colors, a lot of passion, for each of the works in the artistic world of Fanny Autran to come to life.