Both a painter and a sculptor, Vincent Magni moves confidently from one medium to another, examining the subjective interpretation of reality, making sure that the free-standing, slender and carefully measured forms never interfere with the contrasting fluidity of his brushstrokes on the canvas. In both fields, the dominant theme of Vincent Magni is the status of the figure, expressed through his familiar poses, the oval of his silent faces, his inclination to dreaming and his sensetive authority. The perception of Vincent Magni is narrative in sculpture and allusive in painting. Vincent Magni first works by inutiation, inspired by an initial impulse, avoiding the perverse codes of knowledge which could alter the sincerity of his approach to the material or the impact of his brushstrokes. Vincent Magni knows, as Gaston Bachelard has already pointed out, that the image in all its simplicity has no need of knowledge; it is the reflection of a native conscience... before thought.
When Vincent Magni paints, he is not as playful as when he sculpts. Starting with a monochromic abstract image in modulated tones, to which he adds layers of lightly pigmented reliefs, he soon finds that his gestures become rigid, expressing forms for form's sake, with an absence of any identifiable images. Gradually, an urgent need to portray an organic reality that corresponds to the flow of his emotion leads him to place schematic silhouettes in the background, from which appear geometric forms, along with a burst of stains, tufts, splashes and drips. The female figures of Vincent Magni seem to have been snatched from the shadows, almost by surprise; they are portrayed from behind, in profile or sometimes full face, allowing only a glimpse of their evanescent morphology through vague contours. With his undefined environment in the fields, the anecdote lies in the suggestion, in areas where silence is as eloquant as whispered confidences. "Something happens that we cannot see, behind pathways we can only guess at," says Vincent Magni. "Thoughts leap forth, worlds come together. Day, night? Men, women? It doesn't matter, as long as there is emotion."
Even though he began as a painter, Vincent Magni spends now more time every day working on sculptures, installations and art furniture. Instead of removing material to construct, Vincent Magni has decided to add to and to combine, with great precision, linear interwoven forms created from an unraveled spool of steel wire, within an open anatomical organization. Everything in the sinuous rythms of these humanobiles, which are carefully cut out and smoothly interconnected, is designed for movement. This movement reveals the world of sculpture and its history. "What interests me," Vincent Magni tells us, "is its mobility, the expression in the movement. You move the humanobile and it directly reacts, telling us things." Receptive to the least movement, the slightest touch, the humanobile bends, withdraws and sways, adopting vibrating poses that seem unimaginable when it was standing still.
The art of Vincent Magni is designed both for the mind and the heart. The aim of the artist is to share all what he has captured from both the hidden and the obvious, his discreet sensuality, and his resolutely optimistic and playful nature. Indeed, no dry mechanism spoils his cheerful radiance. Vincent Magni admits with a smile: "My works make me laugh!"
From this art theatre in movement emerges a facetious tone, in which the tactile pleasure is linked to a refined graphic skill and a wide selection of materials. Stone, metal, wood, several found objects and the imagination of Vincent Magni will combine together to form the big family of Ethnomobiles. The architecture of these sculptures is created by braiding and assembling a number of mini-forms in wire, springs and various elements, which weave a deceptively compact framework, where the the manner in which the sculpture moves is as important as the sculpture itself - with a unique collusion between the static and moving aspects. Strayed from some unknown planet, the ethnic and unique ethnomobiles stand proud, with a confirmed personality.
Bronze, Mixed Media & Outdoor Sculptures
Alexander Calder confessed: "I think best in wires". The same could probably be said of Vincent Magni, who uses similar material, for he has adapted Calder's stylistic approach. Although he likes the work of Nicolas de Stael and Zao Wou-ki, Vincent Magni also appreciates the sculptors of Constantin Brancusi and Bernar Venet. Vincent Magni rarely goes to exhibitions, for fear of creating taboos for himself. He trusts his intuition; he assembles and welds the various fragments of his framework using different thicknesses of smooth reinforcing bar as his sole material, occasionally adding patinated plaster and different objects he finds, transformed through his expert hands.
However, as opposed to his painting, which is executed at great speed, Vincent Magni takes great care with his sculpture, because of the material resistance to bending, the technical limitations and the quest for pliability, while complying with the laws of balance that govern it.
Vincent Magni loves working with steel and loves creating furniture too. Once we meet the work of Vincent Magni, we often start the design project by choosing a piece, and building the room around. If he can draw it, he can probably realize it, whether it is simply assembled chair or a big bureau desk. With all his unexpected mediums, the artistic vision of Vincent Magni continues to create functional steel art, hand-crafted, fine, strong and lasting for generations.
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