Acrylic on canvas
Vera Molnar may be described as a geometric painter: the basic elements of her work are the most simple and elementary, such as lines, squares, black, white and sometimes greys, reds and blues. She has spent tens of years exploring these shapes and is continuing to do so now. The representation of nature has never interested her and when she tries to explain the real reasons for her decision to work on these shapes alone, it is because, as she says, " the simplicity of these shapes still move her and will move her forever". This is also a clear feeling that something else is at play behind these shapes. In the "carrés tronqués scindés" (split truncated squares) and "carrés découpés en bande et pliés" (squares cut into strips and folded), there are in fact no squares, but fragments or possibilities of squares. The coloured, plain shapes are identical in each painting, overlapping and intersecting each other and creating the impression of an unstable balance, with a permanent potential for development and change. Nothing is stable and yet it all holds together: the adventure is never over; everything can be changed and started over. What I like, said Vera Molnar, is the unfinished, and the potential of what might be. Her works, which in others might be systematic, or even "mechanistic" (Véra Molnar was, moreover, one of the first artists to work with a computer), are in reality designed to bring out the unforeseen, freedom and the imaginary. The lines, for example, become "extravagantes" (extravagant), as indicated by the titles of some of her works.
The diptych "Deux carrés découpés en M" (two squares cut into an M shape) refers to the many studies carried out by the artist in the 60s into the aesthetics of the letters of the alphabet. During this process, she concentrated particularly on the letter "M" and directly refers to one of her inspirations in her title: "M comme Malevitch" (M for Malevitch).