Vera Molnar

The Franco-Hungarian artist Vera Molnar was born in 1924 in Budapest

Living in Paris since 1947, she passed away in 2023

Her work has been exhibited regularly since 1995 at the Oniris gallery, which manages the artist's studio estate and artistic rights

As a pioneer in the use of computers in artistic creation, Vera Molnar turned to geometric abstraction, working on form, its transformation and its movement as early as the 1950s. As a true visual artist, she explores lines, squares, white, black, grey, blue and red and brings out the unexpected and imaginary freedom through a series of transformations of forms worthy of scientific experimentation.

The pictorial work is above all sensitive, it is addressed to the eye. It is for the human eye that I want to make images. The art of painting begins on the retina, first that of the painter, then that of the spectator? Art must be human, that is to say, it must conform to human nature.

She therefore presents herself as a French and abstract painter, of the tendency that belongs to constructive art, in its most consequent and radical sense: that of systematic art, in which she has been engaged since 1950.

She participated in all the debates that led to the birth of kinetic art and enabled the creation of La Nouvelle Tendance and, from 1968 onwards, became one of the pioneers of the use of computers in artistic creation.

The representation of nature has never interested her, and when she tries to explain the real reasons for her choice to work on these forms alone, it is, she says, that "the simplicity of these forms still moves her". Her art, conducted in an experimental way, is about the form, its transformation, its displacement, its perception. Her work is accompanied by an intense theoretical reflection on the means of creation and the mechanisms of vision. It has its origins in Mondrian, Malevich and the Zurich Concretes and finds numerous correspondences in all the work carried out in connection with the exact sciences and mathematics in particular.

The work, which for others could be systematic or even "machinic", in reality aims to bring out the unexpected, freedom, the imaginary. The lines, for example, become "extravagant", as the titles of some paintings tell us.