Name: Vera Molnar
Country of Origin: HU
Gallery Representation: Digital Art Museum Gallery - Wolf Leiser - Europe (Berlin)
Oniris Gallery - Rennes
Gallery TORRI - Paris
Vera Molnar is a Hungarian-born artist, born in Budapest in 1924. She is considered a pioneer of digital art and algorithmic art. Steeped in a pictorial legacy characteristic of the Eastern Europe, she moved to Paris in 1947 to develop an experimental and highly committed work. She lives in Paris, where she continued her artistic career. It is represented by the Oniris in Rennes and Paris gallery by gallery TORRI.
At first glance, his painting practice can be likened aware of geometric abstraction, which develops in Europe in 1950 His painting is characterized by a basic vocabulary based on the line, the circle, the square or the meander … From the beginning, she develops an intense theoretical reflection on ways of creating and mechanisms of vision. His practice originated with Mondrian, Malevich or the Zurich concrete and finds many connections in all work undertaken with the exact sciences and mathematics in particular. Thus, it introduces the minimum rigor of his work a certain amount of chance, a “hint of disorder” coming imperceptibly disturb his formal constructions.
In 1956, Vera Molnar met François Molnar- who became her husband – through Jesus Rafael Soto. Abandoning his pictorial practice to ensure the direction of a research laboratory at CNRS, François Molnar accompanies and enriches the work of the artist jusqu’en1960 during the first twenty years of his work. Together they met Vasarely and Julio Le Parc, which implement the beginnings of optical art and cinétique.Vera Molnar takes part in all the debates that preceded the formation of the BURN (Art Research Group visual), including in particular Julio Le Parc, Morellet Horacio Garcia Rossi or. However, Vera Molnar stays away from these movements to develop new artistic painting “systematic” and lay the foundations of what Serge Lemoine calls “French to minimalism”.
During this period, Vera Molnar refuses to play the game of codes of artistic recognition from galleries as institutions. The absence of “publicity” given to the artist considerably delays its recognition from the public, for the benefit of the American school.
In 1968, she became one of the pioneers of computer use in artistic creation, a tool that, in his words, allowing it to “free itself from a classical heritage sclerotic” while maintaining the full control of his compositions. Vera Molnar today enriches a work already renowned by new systematic constructions in bright colors.