Artist: Marc Vaux
Dimension: 120 x 240 cm
Technique: Mix: Anodized aluminium, cellulose and acrylic on MDF
About the Artist
British artist born in 1932, Swindon.
Marc Vaux studied at Slade School of Art, 1957-1960.
His participation in the exhibition “Situation” in 1960 confirms his role as an abstract painter. This exhibition was a direct reaction by British abstract artists to the recent exhibitions in London of the America abstract expressionists.
His work has been defined as minimalist and constructivist, although his primary “concerns include the effects of color as light and formal contrasts such as hard and soft shapes, gesture and structure, and closed and open spaces.” (artsy.net)
Some of his exhibitions are:
1960, Situation: British Abstract Art. R.B.A. Galleries, London
1961, Neu Malerei in England. Städtisches Museum, Leverkusen, Germany
1967, Six Artists: Denny, Hoyland, Vaux, Lancaster, Boshier, Evans. Victoria and Albert Museum, London.
1974, British Painting ’74. Hayward Gallery, London
1985, Thirty London Painters. Royal Academy, London
1994, London Group. Barbican Gallery, London
2009, The Louvre during the War – Photographs 1938 – 1947′. Musée du Louvre, Paris
2011, How to carry the World On One’s Back?. Deichtorhallen, Hamburg
2011, Featured works. Tate, London.
2013, Moving – Norman Foster On Art. Musée d´art contemporain de Nîmes, Nîmes, France
What NE.1.DL1.10 is saying?
There are many categories, genre, styles and movements in art.
Two of the ones I feel special attraction are abstractionism and constructivism.
Both of them, for me, somehow, express the complexity of our relation with the world from the perspective of emotions and that of rational thinking.
Imagine the work of Jackson Pollock on one side and on the other that of El Lissitzky; a wonderful contrast of opposites.
When I saw this work by Marc Vaux I was seduced by the overlapping of a lyric manifestation thanks to the use of color and form confined in a gentle way by the presence of the square with the regimented, structured and at the same time random shape of the polygon breaking that cadence, transforming it into a sort of portal that suggest darkness and uncertainty.
This creates a multiplicity of spaces that convey a sense of expansive or reductive reality, depending on how you see things, that is so certain of itself that an awkward serenity is the outcome of it.
The use of bright colors in the polygon confirms the festive, almost innocent coexistence of both worlds.
A door has been opened and it is up to you to stay outside, inside or at the threshold.
In what Room to place it?
This is a fascinating work with such power and intimacy at the same time that it would work in any room with enough space to take it and allowing it to breath.
Due the color of the painting I would suggest to use cold light to reinforce the sky blue on the painting and reinforce that clinical aspect of it.
Hanging it at eye level is really important for allowing the forms not be distorted by an unwanted perspective.
Finally a white wall should be the background of it.