Un homme heureux Print

Gregory Dubus is a French artist living in the Netherlands whose artworks are displaying originality, uniqueness, remarkable aesthetic and higher technical and creative standard. His structural compositions are a praise to geometric Abstraction and most particularly to the triangle shape inviting the viewer to experience a reflective and emotional peacefulness mindset. His art is colorful and exigent because it requires lot of patience, rigor and precision. It also represents his personality which contains a duality of concepts that he is trying to make coexisting in harmony: Feelings vs Thinking; Simplicity vs complexity; Monotony vs diversity; Facility vs difficulty; Planning vs spontaneity; Visible vs invisible; Conscious vs unconscious; Effort vs ease…… His art has been influenced the abstract art movement called ‘Suprematism’, by the colouring he loved doing during his childhood and by a few abstract artists like August Herbin (forms and colours), Piet Mondrian (lines and structures) and Victor Vasarely (organisation and movements). He is a permanent member of ‘BosFineArt’ being a major gallery in Europe specialised in Geometric Abstraction., where he regularly exhibits its artworks. In 2018, he became finalist for the ‘Artist of the year Award’ of the International Circle Foundation for the Arts. French art critic and expository commissioner, Sarah Heussaff, says about him: ‘Gregory Dubus’ artworks scan be seen as a choreography in which the lines and colors come, in harmony, to match each other. The space is little by little invaded by the movement of forms that leave no frame, no immaculate space, or even silence in support of this ballet. The predominant lines are made freehand according to the artist’s intuition. In a maze of corridors, of strong lines and colors, each structure deploys its own entity. Every work produced retains its uniqueness, just like the momentum that dictates the course that the work will take at the beginning of its conception. Hypnotic, these plastic productions take in some points the form of an automatic writing that the artist lets instinctively unfold under our eyes. Then, stands a topography, like a collection of geometric shapes which would join the codification attempts, colour-form correspondences and letters of the abstract painter Auguste Herbin and his attempts to transcend pictorial forms.