Anne Vieux is an artist working in Brooklyn, New York. Her digital paintings capture a unique relationship between depth of illusion and the flatness of the picture plane. Her abstract imagery is translated through various media, including painting, video, and bookworks. Her work experiments with optics and challenges traditional notions of painting. The metaphor of the screen persists throughout the imagery, whether the work lives on the screen or within the boundaries of frame on the wall.
Anne published an artists book, Transitory Flatspace, in 2014 with Small Editions, in NYC. The digital fields are flattened as they exist in the two-dimensional boundaries of a book, but are then activated through viewer exploration. It consists of abstract color fields and geometries, with interweaved translucent printed papers, which affect the experience of singular images. Transitory Flatspace is a pivotal marker in her practice; as it represents Anne’s intention of creating a piece of multiple works that physically engage with the viewer, and her experimentation with formating.
How do you identify with your current series of work?
My current body of work consists of flatworks that are printed, framed and painted, as well as videos, created from the digital files of the paintings. Often they are repeated images, or two different images on the same surface, but i’m really interested in this idea of translation between the digital and physical formats.
Initially they are painterly but require different expectations of the viewer.
Where has art taken you at this point in your life?
I grew up in Oklahoma. My work has brought me to New York. Here and on the way I’ve met so many amazing creatives that come in and out of my life in surprising ways.
How has being part of a community of artists in Brooklyn challenged your work?
There are a lot of collectives and artist run spaces doing cool stuff that are continuously inspiring in Brooklyn. I’ve been lucky to have the support of The Witches of Bushwick and Small Editions. My artists friends inevitably end up in my studio and challenge my ideas/methods. Surrounded by so many thinkers and artists, it’s impossible not to be challenged here.
Did you study art at a university or other institution?
Cranbrook Academy of Art in 2012 with an MFA in Painting. I also studied painting at the Kansas City Art Institute in Kansas City, MO.
What inspires you for a series of work?
I think a lot about screensavers, optics, and peripheral vision. I am fascinated by the implications of the screen on abstract painting and perception. I love reading philosophy/theory and getting lost in my work with electronic music.
Your work is highly conceptualized in the digital aesthetic and shares a strong relationship between the various media that you use. What attracts you to this aesthetic?
I am really into the slips of scale and materiality that happen when translating between media. The play between flatness vs. dimensionality, and the framing of an expansive field. I am fascinated with the relationship between the screen and paintings.
When you are creating a work, do you conceptualize it first as its flat image, or do you see its potential for life in a video?
I’ve been thinking about how images operates behind a screen and physically present with the body, and the play between the two is always on my mind.
What other forms of media do you or have you practiced?
In the past I’ve worked with light in sculptural installations. I kind of took what I was doing in environments and reduced it down to flat works. In all of my work I have used an abstract language and light as an effect, process, or image. The way light can dematerialize space, or create an image that doesn’t exist in the real world inspires me.
What artists or art movements would you say have played an influential role in your artistic endeavors?
Lynda Benglis, Carsten Höller, Op-Art, Light and Space artists, Katharina Grosse, Minimalism the list could just go on and on. When I was younger, looking at these artists +more gave me the freedom to experiment.
As someone who is so greatly represented by the digitization of art, explain why you think it is important to have your work exhibited.
I want to see what’s in my mind materialize, explore new kinds of spaces, and be surprised by the process. I think sharing this special place I go to, is one of the exciting parts of being an artist.
You very recently created with the assistance of Small Editions, “Transitory Flatspace,” that authenticates digital images and defines them in a two dimensional flat surface, bound by the physical structure of a book. What inspired its creation?
I wanted to create a completely abstract work that encapsulated an intimate relationship with the viewer, using transitions, framing, and gesture. I was interested in destabilizing the traditional experience of the artists book and create a time based experience. The imagery came from scanning materials that refract light, and I was excited by making so many images relate to each other in a total work.
Why is this book important as it exists in your series of works?
This piece with Small Editions was crucial in my new body of work. Working on this project, I started to thinking about what it means to experience two images at once, and approaching my work thinking about the apparatus of seeing. I developed a visual vocabulary that I am still experimenting with.
How is its interaction with viewers important in regards to its interpretation?
The images and transparencies suggest that the work continues into an unreal space, as if the images could keep being generated. I think the structure and imagery of the book lend themselves to a particular yet subjective experience.
Do you have any other large projects in your hopes following this book?
Currently, I am preparing for a large group show at Mana Contemporary in New Jersey and a solo show at Stream Gallery in Brooklyn. I am also working on a small scale book work.
Where do you hope your art will take you in the future?
I hope to keep making work, expand my mind, and collaborate with other artists.
Last modified: May 9, 2015