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Paul-Émile Rioux
GEON Klush_1

2023

$14,000
£10,646.38
€12,280.09
CA$19,611.44
A$21,949.07
CHF 11,460.84
MX$267,779.99
NOK 145,480.36
SEK 138,051.90
DKK 91,701.88
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About the Item

Medium: Archival pigment print under museum acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Signed by the artist. Edition of 5. Paul-Émile Rioux is a Montreal-based artist and photographer who has been recognized as a pioneer in digital art. His lifelong interest in cutting-edge media technology and his expertise in photography have enabled him to develop virtual matrices from which he extracts his images. Rioux's work explores the intersection of abstraction and the figurative, inviting viewers to question whether what they see is a reflection of reality or imagination. According to White Hot Magazine, Rioux's unique approach makes him one of the most innovative artists in digital creations. He is one of the few creative minds able to blend aesthetic research and critical distance with such keenness. His creations offer a dystopian view of the urban territory, challenging our attitudes towards the environment and the future. Rioux does not aim to meet expectations of what digital art "should" look like, but rather seeks to play with our notions of what is real and what is not. He explores how we remember and how we infer meaning into imaginary visual constructs. Through his work, Rioux invites us to reflect on the relationship between reality and imagination, and to question our perceptions of the world around us. In summary, Paul-Émile Rioux's innovative approach to digital art challenges our perceptions of reality and invites us to reflect on the relationship between the real and the imagined. His work offers a unique perspective on the intersection of abstraction and the figurative, and challenges our attitudes towards the environment and the future. --- Paul-Émile Rioux launched the GEON project in 2017, inspired by the Recognition by Components Theory (Biederman, 1987). According to this theory, Geons are simple shapes, such as cones or spheres, that 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 suggests that the brain breaks down all (or most) objects into a vocabulary of basic shapes in order to foster recognition. In his work, Rioux experiments with shape, representing a new series of square pieces. Each work features a landscape with a floating shape of some sort above it. In some pieces, the shape is a sphere, while in others it is a kind of hollow cube, and in still others, it is something more complex and unnameable. These works continue Rioux's ongoing dialogue with landscape, as well as form and meaning. According to White Hot Magazine, Rioux's unique approach to digital art challenges our perceptions of reality and invites us to reflect on the relationship between the real and the imagined. His creations offer a dystopian view of the urban territory, challenging our attitudes towards the environment and the future. Through his work, Rioux invites us to question our notions of what is real and what is not, and to explore how we remember and infer meaning into imaginary visual constructs. Rioux believes that landscapes and shapes must be constantly created and recreated through the act of viewing and observing, becoming a field of possibilities. Different ways of seeing offer possibilities for reinvention and reframing. Rioux's works confront the viewer with the consequences inherent in their interpretation, challenging their perceptions of reality and imagination. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery acrylic glass. The back is bounded on a coated Alu-Dibond photography mount panel with an aluminium/cleat hang system.
  • Creator:
    Paul-Émile Rioux (1953, Canadian)
  • Creation Year:
    2023
  • Dimensions:
    Height: 48 in (121.92 cm)Width: 48 in (121.92 cm)Depth: 0.25 in (6.35 mm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Miami, FL
  • Reference Number:
    1stDibs: LU13614665302

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Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. 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 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 Renaissance project in 2016. Renaissance further develops themes explored by RIOUX in his earlier series Turquoise Default. It is not merely a progression however, but also a contrast. This new series poses questions about hope, which is perhaps now more relevant than ever. “Renaissance invokes in us a sense of uncertainty and a self-awareness of our limits, of an infinity made apparent by the horizon line, the vanishing point, the moment in any spatial or temporal projection beyond which we can no longer see, but from which, nonetheless, we know the universe carries on. At the same time it poses a choice to us: do we accept the openness of abstraction or do we insist on imposing a (false) certainty of representation in what we see in these images. Hope is a faith made possible by uncertainty and the unknown, by an understanding that history and the future are creative acts, works of art in which we all participate.” Neal Rockwell There are 18 pieces in the RENAISSANCE collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...
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