Fardou's work derives from sharp observations of social contexts, which she captures in her oeuvre: contrasts between rich and poor, views about what is beautiful and ugly. She analyses and criticises social structures: the human condition. Abhorrence is a mean to open eyes. Her work is narrative, although far from being merely an anecdote. The work has a strong theatrical weft, the sculptures combine some kind of visual play, almost a tableau vivant. Puppets, in themselves reversed, are standing in an unknown landscape, having a strange dialogue with one another in the alienating light. Fardou knows how to invoke in her installations an abomination that provokes resistance and compassion. The sculptures arise out of a feverish and passionate process. In her sculpture, she shows a consistent materiality. Realistic elements such as human hair are brought in balance with exaggerated human appearances.
Transference of energy into material, well known in voodoo culture for instance, is a very important source of inspiration, honoring the relationship between Fardou and her sculptures - an important part of her art. Fardou refers to the sculptures as her creatures. She plays with her sculptures by giving them sound effects, scent and movement, a specific surrounding and finally, she interacts with them.