Pierre Kiandjan’s work proposes a singular extension of op art, at the crossroads of 20th century codes and contemporary techniques.
The innovative process of stereo symmetry, which he invented, is his main signature. The principle is as follows: the structures have symmetrical axes or centers, but the colors do not. This shift creates vertigo and/or emotion in the eyes of the observer and is in line with the artistic line of the historic Responsive Eye exhibition of 1965 at the Moma in New York, which made Op Art a real movement.
Kiandjan’s interest in art began early on as he mastered the technique of color gradation and the balance of geometric shapes. A large part of his career is devoted to drawing and creating lithographs. He showed a strong interest in the American avant-garde: Ivan Serpa, Jesus-Rafael Soto, Barbara Kasten, Frank Stella, Carlos Cruz-Diez and Edna Andrade. He was also influenced by the Bauhaus movement, El Lissitzky, František Kupka and László Moholy-Nagy.
In his Parisian studio, Kiandjan mixes colors and light to create abstract and geometric representations. In his works, the variations of colors and geometric movements create the illusion of a rhythmic movement. His work consists of developing complex assemblages from simple motifs. He reveals an innovative use of gradations and breaks in the form in the flat representation of a three-dimensional construction.