I.M. VaserelyFrom a higher floor of the Louvre, the familiar pyramid by I.M. Pei takes on a sharper angle when viewed from above, approaching a near 90-degree slope. This dramatic perspective transforms the pyramid into something closer to a cube, framed by four precise corners.

Rain puddles glisten at its base, visitors queue with umbrellas in hand hardly disrupting the pyramid’s apparent precision. The transparency of the mirrored panes reveals a new, imaginary interior—a space both architectural and abstract.

Set within a perfect square, then rotated to diamond orientation, the visual logic of Op Art pioneers like Victor Vasarely in the 1970s comes to mind. The title, a hybrid: a meeting between I.M. Pei’s modernist icon and Vasarely’s geometric legacy.

Sublimation Dye Print on Aluminum

48” x 48” (Framed 49” x 49”)
Signed Edition of: 5

39” x 39” (Framed 40” x 40”)
Signed Edition of: 7

24” x 24” (Framed 25” x 25”)
Signed Edition of: 10

Signed, titled, dated, and numbered on artist’s label on verso.

I.M. Vaserely

Sublimation Dye Print on Aluminum

 48” × 48” (Frame 49” × 49”)
Signed Edition of: 7

39” × 39” (Frame 40” × 40”)
Signed Edition of: 10

Signed, titled, dated, and numbered on artist’s label on verso
 

From a higher floor of the Louvre, the familiar pyramid by I.M. Pei takes on a sharper angle when viewed from above, approaching a near 90-degree slope. This dramatic perspective transforms the pyramid into something closer to a cube, framed by four precise corners.

Rain puddles glisten at its base, visitors queue with umbrellas in hand hardly disrupting the pyramid’s apparent precision. The transparency of the mirrored panes reveals a new, imaginary interior—a space both architectural and abstract.

Set within a perfect square, then rotated to diamond orientation, the visual logic of Op Art pioneers like Victor Vasarely in the 1970s comes to mind. The title, a hybrid: a meeting between I.M. Pei’s modernist icon and Vasarely’s geometric legacy.
 

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