Vincent Beaurin (1960, Charleville-Mézières, France) lives and works in Paris.

After studying at the École Boulle, a school of applied arts in Paris, Vincent Beaurin first turned to painting. In 1998, drawing on his continued interest in the interplay of art and design, he produced pieces of forniture before returning to the fine arts. Equally interested in contemporary forms and prehistoric art, Beaurin created a hybrid universe of forms and materials in which references to shamanic deities and cave paintings can be found, as well as ironic quotations from the formal vocabulary of modernity. 
Vincent Beaurin’s works are quiet, telluric, radiant witnesses. Since his research undertaken in the 1990s, what is involved for him is the creation of forms which express his world and transmit it. His world, like our world, is neither figurative nor abstract, neither decorative nor speculative, and neither useless nor useful: it is all at once, loaded with a power clamoring only to be expressed, and irradiate and impregnate our retina. An impregnation which disturbs our perceptions of boundaries and givens, permitting the advent of a space, more fluid than the artworks, in which their forces and those surrounding them are in exchanges, and of a time, vaster than their observation, thanks to their optical potential and the after-images.


“The representation of the landscape imposed a distance necessary for its contemplation, which all too often disengaged the body from the gaze.

For a number of years, I had been working on round, domed paintings, which I first called Spot, for the place, then Ocelle, in reference to the circular dots that adorn the wings, feathers or fur of various animals, and which evoke eyes, and finally Tableau Paysage (Painting Landscape), Ocelle Tableau (Painting Ocelle). The idea was to synthesise the landscape through colour and invite the whole body to explore it.
Vision does not come from the gaze or gazes, dependent or even prisoners of a single point of view, but from reciprocity.”

Vincent Beaurin, 2024