Performed veiled, it is an exploration of the body's relationship to nature and geometric archetypes that govern physical form and movement.

[2][3] The pseudonym "de Saint-Point," which she took when she entered the literary world, refers to a small town in Mâconnais, in the Cluny area where a castle of her famous ancestor was located.

Several reasons for the divorce were circulated, including the fact that she posed almost nude for Mucha and Rodin, and the courtship of Canudo.

[8] As Valentine de Saint-Point was heavily inspired by the innovational works of Canudo and Marinetti, she began her Futurist practice before the wave of Futurism spread between 1909 and 1914.

Following this she published her first collection of poetry, Poems of the Sea and the Sun which had been inspired by her trip to Spain with Canudo the previous year.

She began her collaborations with several magazines such as The Artist Europe, The Mercury, The New Review, The Age, La Plume, and Gil Blas, whose founder was the poet Filippo Tommaso Marinetti.

In 1910 she published A woman and desire, an unacknowledged autobiographical confession that enabled her to express a few truths about female psychology and women's roles in society.

Others who were present included, Philippe Berthelot, Saint-Pol-Roux, Boccioni, Gino Severini, Canudo, Florent Schmitt, Countess Venturini, and Mendes-Cattule.

In addition to her artistic works, Valentine de Saint-Point wrote pieces which discuss the ironic themes of love and death.

To further elaborate, some of her writings compare and contrast the themes of love beside, what was at the time, a theoretical debate on the death of the avant-garde movement.

The works of Saint-Point and Marinetti have caused a stir amongst literary and art historians, in an attempt to determine the relationship between death and life in the study of the avant-garde.

[10]Saint-Point advocated the concept of the woman-warrior, as opposed to the traditional sentimental feminine ideals such as the "good mother," and she conceptualized the "Überwoman" (sur-femme), as a counterpart to the Nietzschean Übermensch (surhomme).

These writings, translated throughout Europe, were a sensation and put women at the center of the debates of the Futurist movement, which was increasingly popular.

[13] It also maintained that women represent the great galvanizing principle and that "lust when viewed without moral preconceptions and as an essential part of life's dynamism, is a force".

[3] Saint-Point would continue to develop her ideas on theater and dance, which would eventually become La Métachorie, which she called "a total fusion of the arts.

"[11][15] Saint-Point's first exhibition of Métachorie took the form of a live performance on 20 December 1913 at the Theatre-Léon Poirier (Comédie des Champs-Elysées) in Paris.

Other signs in the form of shapes (a triangle, rectangle, circle, trapezium, parallelogram, octagon, and polyhedron) were projected onto the backdrop as the poem progressed.

[19] At the outbreak of the First World War in 1914, Ricciotto Canudo, Guillaume Apollinaire, and Blaise Cendrars appealed to other foreign artists living in Paris to join the French army.

Saint-Point was considering the possibility of establishing centers of dance inspired by her choreographic work, and gave a series of conferences across the country on Auguste Rodin, who had died shortly before.

Between 1919 and 1924, she made several trips to Corsica, where between her reading, including Helena Petrovna Blavatsky's The Secret Doctrine, and meditating, Saint-Point attempted to create a College of Elites who would work towards the formation of a 'Mediterranean spirit,' or a merger the west and east.

At the end of 1924, accompanied by Vivian Postel du Mas and Jeanne Canudo, the widow of her former lover, Saint-Point moved to Cairo where her fame had preceded her.

Meanwhile, conferences organized by the "center idéiste" ended several times in violent disputes, which exasperated the Egyptian authorities and prompted them to expel Canudo Jeanne and Vivian Postel du Mas.

While she was in Jerusalem in 1928, after spending two months in Lebanon to treat her health which had been shattered by the attacks to which she had been subjected, she was informed that she would be banned from returning to Egypt.

The end of her life was spent in the study of religion and meditation, while living in destitution, giving occasional consultations on dowsing and acupuncture.

She died 28 March 1953 and is buried in the cemetery of El-Imam Leissi in Muslim tradition and as the Rawhiya Nour el-Deen ("zealot of divine light").