Patrick Rubinstein was born in 1960 in Paris, during the time of British rock, cinema, and American pop. The artist grew up in a family that made him perceptive to art at an early age, acquiring the passion for cinema from his mother, and inheriting the inventive spirit from his father, who was also the first to introduce to him the techniques of kinetic art.Read more
Patrick draws his themes from both the past and the present and is inspired by Optical Art and Kinetic Art, genres that play with our perceptions through art. The artist fuses these two movements together, maximizing on the intricate sophistication of the eye. His works often feature the major icons and celebrities of the second half of the twentieth century. This colourful Pop universe of the ’60s is revisited with the added black and white glamour of the 50’s, in artworks that are infused with the anarchic madness of 80’s street art. Rubinstein invites us to immerse ourselves in these memories and rediscover this nostalgia through his avant-garde works that are situated at the crossroads of Optical, Pop and Street Art.
Through an innovative process, the artist creates his pieces in three dimensions, and even, to see several works in one. This is done through his two methods, the double principle and the triple principle.
The Double Principle depicts the fusion of two images designed to blend into one. This newly merged image is applied to a medium in the accordion configuration. The application on this medium recreates, at 45° angle, the two original images that can be seen from both sides. Several other images revealed through the interlacing of the two views become visible as the spectator moves around the artwork. The Triple Principle depicts three images, one central and two laterals. The side views are created by strips inserted perpendicular to the central image. Two distinct images are visible, from both sides at a 45° angle. This technique allows visual variations when the spectator moves around the work while maintaining defined sight of the central image. The result of these two techniques is captivating, giving the artworks an animated and perpetually renewed nature. The movement is not the only element that affects visual variation, but the light direction and intensity also contribute to the artwork’s kinetic effect.
Rubinstein’s art has a striking effect when observed: the image, fixed at first, comes to life according to the movements of the viewer. We become the animator vis-à-vis the unprecedented dynamics of his work, that draw us into a captivating visual experience, and surprises us with every viewing.