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When looking at the work of Vincent Abadie Hafez, the first thing that strikes us is our inability to
grasp what makes the mysterious harmony of its lines, traces of gestures that we imagine flexible and fluid.
Not so aggressive in the energy deployed by this artist and thisis perhaps in that it exceeds an d refreshes its first practice of painting that was the graffiti, whichwe will prefer the original term, but also more appropriate to «writing».
This pictorial evolution will be understood by looking at a series of paintings in public spaces, where the artist doubles and reactive trace erase tags to karcher: noting the erasure cleaningservices, he plays with forms created by the «adversary», and finally transforms accompanies the duo duel. Thus he renews the sense that we can give to the word «Battle», here between modern art of writing to the officials of his disappearance.
No doubt this series she is a turning point in his practice: while his graffiti rather consisted of «bursts of shots,» kinds of actions «punches» the execution of his paintings today seem more close to a dance, and would be compared to the more than aikido Thai boxing or karate, if you wanted to spin the combat metaphor.
This new struggle, one could say it is exercised not against but with. The two protagonists are now the line and space of the canvas. Each line drawn, every gesture or movement could be likened to a new «hit» in the sense of failure this time, the game of holding the balance of lines in rows, shots after shots, the aim of the game is the inexplicable and unexplained harmony that emerges from its intricate scriptures: accuracy of space and proportion, harmony of forms and composition, all things that everyone can enjoy without being able to grasp the whole, and with one look, initiated or not.