Vincent Beaurin’s Before Daylight Encourages us to Question the Value of an Art Piece.

As author and art critic Clément Dirié points out: “Vincent Beaurin paints. Perhaps that’s all he’s ever done, paint? In his own way, with polystyrene and glass flakes. In his own way, that of a sculptor and creator of three-dimensional forms and environments.”

Year after year, Vincent Beaurin creates timeless, highly identifiable, yet unclassifiable art pieces that combine abstraction and figuration. He works alone, does not belong to any group and does not conform to any passing fad.

Each of Beaurin’s works and exhibitions is a journey in which space is thought of and experienced as a landscape. Colour, the intimate relationship between light and shade, seems to feed his work more and more, bringing it closer to the plenitude and peace to which Beaurin aspires and which his artworks already provide.

For the past three years, he has been writing a treatise on colour, which he calls, not without humour, his Emerald Tablet, in which experiments, theory and poetry mingle.

His latest work is a somewhat unexpected departure. Strouk Gallery presents Before Daylight, the new exhibition by Beaurin, in the heart of Paris’s Sentier district, just a stone’s throw from the Place des Victoires.

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For the first time, the artist is producing artworks in bronze. These are exhibited alongside pieces made from polystyrene, which is one of his favourite materials. He encourages us to ask ourselves, once again, what is the value of an art piece: is it what constitutes it, and which justifies its success, or what it enables to access?

Before Daylight is conceived as a room dedicated to landscape or to any abstraction that celebrates plenitude, in the centre, Vincent Beaurin has placed six statues.

Three of the figures are made of bronze and bear the marks of workmanship or ancient fractures. The other three, covered in sand and glass flakes, are at once solar and almost overwhelmingly dense, teeming with bursts of light. On the side walls are several Ocelles, the round paintings made from combinations of coloured sand and glass flakes that have become emblematic of Beaurin’s work.

An Infinite Recycling Loop: Fake Realness by Palma and Nula Studio.

For Madrid’s popular Urvanity Art Fair, Palma paired up with Nula Studio to present Fake Realness, an installation that explores the limits of reality and material fiction.

Further on, a number of Organisms, this time oil paintings, are articulated in an altarpiece. Taking advantage of the entire exhibition space, the artist has created a large chromatic installation of glass flakes on the floor opposite two suspended giant aluminium flowers, a kind of reflector sensor or antenna.

Before Daylight is accompanied by an artist’s book, published by Strouk Gallery, with writings by Jean-Pascal Billaud and photographs by Ulysse Beaurin. The exhibition runs from the 14th of September to the 7th of October.

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[Photography by Gregory Copitet.]