Anne Vieux’s works are mesmerizing and satisfying in a good way. Looking at it is like travelling on the back of a unicorn and, let’s get real, we all need that at the moment. She generates her images through a precise process involving scanners of holographic papers printed on various surfaces. The print is then re-worked with paint, allowing her to fully grasp the end-result.
The digital and physical manipulation of light and colours is in itself a poetic endeavour as well as a meditation on the prismatic nature of light. In her statement, she talks about the skies of her native Oklahoma as the main influence. Her work is a beautiful evocation of the sublime and ethereal part of reality. Born in 1985, she now lives and works in Brooklyn, USA.
Anne Vieux answered my questions.
How do you start your day?
A stretch session, coffee and cat time. If it’s nice, I’ll get some sun and walk to the park and listen to music before going to the studio.
If you were to paint one thing over and over what would it be?
Do you like exhibiting your work? What do you do on the openings?
Showing work is such a rush. It’s a surprise each time after being alone in the studio for long periods.
What is your favourite place to think about a new painting?
On an airplane, or next to a body of water.
What is your relation to past painters, and the history of art?
Historically, there are many artists who have used light as a subject or “material,” in addition to those who engage with technological mediation as a subject. My work plays on historical models of abstraction like colour field painting and capturing the sublime.
Which question would you like to ask your painting Idol?
Hmm… What their favourite meal is.
How did you develop this work you’re doing now?
My process starts by scanning holographic paper and warping it over the glass to create glitches. The light source distorts a spectrum of colour from the reflection of the paper, and further augment these photographic digital images into a painterly field. I started this work when I moved to NYC. I made an artist book with this process that led to the larger painting practice.
Why do we still paint in 2020?
Painting is a way of seeing and recording perceptual shifts. The personal/political and universal/particular etc- simultaneities can exist in painting space.
Where is Painting heading?
To the future.
Thank you Anne, and thank you, reader.
Anne Vieux (b. 1985, Michigan) holds an MFA from Cranbrook Academy of Art, and her BFA at the Kansas City Art Institute. Vieux has had solo exhibitions at The Hole, County, Annka Kultys, and The Journal. Recently, in group exhibitions at the Newcomb Art Museum, ProvidenceCollege Galleries, National Arts Club, LMAK Gallery, Brooklyn Academy of Music, Tarble ArtsCenter, The Hole, Brand New Gallery and Cranbrook Museum of Art. Her artist book works are included in the library collections of numerous universities and the MoMA Library. Special projects include a commission from Oculus and Brookfield Properties. Features and reviews of her work have appeared in Bomb Magazine, Book