Felice Varini, "Orangerie du cha‰teau de Versailles," 2006 (Photo by André Morin)



"Orangerie du cha‰teau de Versailles" from a different perspective (Photo by André Morin)

Note: This is a guest post by Riley MacPhee, a regular contributor to the Johnston Architects Blog. Johnston Architects PLLC is a small architectural firm focusing on creative, innovative, and sustainable design throughout the West. You can see their designs and learn more about their work at the Johnston Architects website.


To walk into a space exhibiting the art of Felice Varini is to be confused. You’ll immediately notice vaguely geometric, monocolor shapes stretching and sprawling across the room, but you won’t be able to determine any kind of method to the apparent madness. Varini’s work looks like interesting, abstract art superimposed on an architectural space.

But if you walk around and explore the space a little more, you’ll start to notice that the shapes change as you move.  The more you move, and the more you stare at them, the more you’ll start to realize that there’s something you aren’t getting. But then, suddenly you’ll arrive at a spot where everything comes together with startling clarity, and you’ll realize that you’re looking at a brilliantly composed perspective work that seems to pop out of the scene and hover eerily in front of it.

Felice Varini, "Encerclement à dix," Chapelle Jeanne d'Arc/Centre d'Art Contemporain, Thouars, France, 1999 (Photo courtesy varini.org)