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Paul-Émile Rioux
Triptych Geon Archival Pigment Print, Signed Edition of 3

2023

$39,000
£29,353.74
€34,342.07
CA$55,156.88
A$56,022.53
CHF 32,284.18
MX$676,389.17
NOK 375,011.27
SEK 378,140.17
DKK 256,718.24

About the Item

Archival photo print under acrylic glass. Three prints 3 x 48x48" (each) Height: 48 in Width: 48 in Depth: 1/8 in Signed & Numbered by the artist Edition of 3 Total: 156 in ( 396 cm ) Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach, Paul-Émile Rioux is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. RIOUX started the GEON project in 2017. In Recognition by Components Theory ( Biederman 1987 ), Geons are the simple shapes, such as cones or spheres, which form the building blocks of object recognition. In the same way that language can be broken down into a set of basic sounds or phonemes, Recognition by Component Theory posits that in order to foster recognition, the brain breaks down all (or most) objects into a vocabulary of basic shapes. In this new work, Rioux experiments with shape. This represents a new series. Each work is a square, and inside the square a landscape with a shape of some sort floating above. In some the shape is a sphere, in others a kind of hollow cube and in others, something more complex and unnameable. These works continue a dialogue with landscape, which has been ongoing in his work, as well as form and meaning. Rioux imparts that landscapes must constantly be created and recreated by the act of viewing, observing. Landscape becomes a field of possibilities. Ways of seeing offer possibilities for reinvention, reframing… Rioux’s works confront the viewer with the consequences inherent in his or her interpretation.

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