Arièle Rozowy's works, under the generic title of "Elusive Circles", summon at first glance a whole range of art history, from geometric abstraction to optical art or kinetic art. We find graphic purity in the appeal to primary forms - the circle, the cross - and to a minimal but powerful use of bright colors.

One also recognizes something of the optical and kinetic art, in the games of visual perception that it produces - games more than illusions - by which the eye of the spectator becomes in some way the engine of the work. Because, following the example of the kinetic movement, which was pioneer in the matter, it is indeed the body of the spectator, as well in its visual capacity as in its own movement which is first solicited, in the heart of the device.

The kinetic art, as we know it, drew its influences, among other movements, in the orphism. And it is also to orphism, art of the color and the light, that we think while looking at a work of Rozowy, who, a little in the manner of Delaunay, offers to the eye the occasion to "find its innocence", this primitive language that is the color, which, says again Delaunay rooted in "the luminous essence" of the world. * However, if these historical references certainly contextualize his work, the artist undeniably adds the added value of a very personal way of calling for movement, color and light at the heart of the work. For Ariele Rozowy's "paintings" are inscribed in a perspective that opens beyond painting, intrinsically carrying a dimension, if not sculptural, at least surpassing the system of the surface plane, through the simple perspective of the "double plane" - that of the wall and that of the painting - which both jointly form the work, a doubled plane to which one must add a third dimension, that of light, and a fourth dimension, that of the movement of the observer. It is thus a new and complete experience on the perceptive level that the artist invites. Depth effects, subtle perspective games, elusive shadows, changing auras: Arièle Rozowy thus introduces a form of moving and unstable magic, playing on our perception in a surprising way with regard to the effective simplicity of the plastic process. A metal plate hollowed out with identical circles, which could pass for a homage to Niele Toroni if other plastic elements did not come to contradict it, the brightly colored stars, like points of convergence of the glance, a work as if in weightlessness in front of the wall, second surface which supports it and completes it, and it is then that the optical effects appear. More complex than they appear, the "Elusive Circles" multiply the parameters of perception, opening a hypnotic field of possibilities. Thus we are caught in the heart of a work that cannot be apprehended at first glance, never quite the same according to the time of day and the light of the weather, nor even according to the movement induced by its spectator, in a permanent and delightful spectacle, in front of which we pass from childish astonishment to serene contemplation of the movement of the materials of which the world is made.



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