Felice Varini (born 1952) is a Franco-Swiss
installationist (though he prefers the term “painter”) famous for his
perspective-based geometric work. Varini chooses an existing indoor or outdoor
space, usually with varied geometry of its own, before making a series of
sketches and photos from eye level to begin to understand the location. He then
laser projects a design onto the surface so that it can be accurately filled in
with acrylic paint, latex, chalk, or resin.
 |
| Unite d'habitation (on vantage) |
 |
| Unite d'habitation (off vantage) |
The end result is that a fragmented series of
geometric shapes and lines can be seen from “off vantage” perspectives, while
Varini’s design can only be seen from the selected vantage point (see above).
Conceptually, we might guess that knowing the selected vantage point would be
the most important view to understand his work, but Varini claims this is not
the case.
"No, I am not worried about [the right
vantage point]. Everyone knows how a circle or a square looks like. My concern
is what happens outside the vantage point of view. Where is the painting then?
Where is the painter? The painter is obviously out of the work, and so the
painting is alone and totally abstract, made of many shapes. The painting
exists as a whole, with its complete shape as well as the fragments; it is not
born to create specific shapes that need to satisfy the viewer.”
I'm not sure I can take Varini's claim at face
value. The act of selecting a vantage point implies authorial intent and
priority over other, unselected vantage points. Supporting this, Varini states
in a different interview, "For me a viewpoint is a point in the space that
I choose carefully: it is usually situated at my eye level and preferably
located in a key passageway, for example where one room leads to another, a
landing." [Emphasis mine]
Varini cites Italian Spacialist Lucio Fontana’s
slashed canvases as an early inspiration, but Varini’s geometric work seems
directly linked to John Pfahl (photographer covered previously). In turn,
Varini preceded French photographer Georges Rousse (below).
 |
| Montferrand - Georges Rousse (2012) |
What I take from Varini, Pfahl, and Rousse is
their ability to introduce a novel frame of reference, dismantling viewers’
preconceived notions on reality and spacial relationships.
Quote sources: http://www.poeticmind.co.uk/interviews-1/i-am-a-painter/
No comments:
Post a Comment