Rayures under Plexiglas: geometric and digital artworks (2002–2025).

« Rayures »
under Plexiglas: geometric and digital works

1 CONVICTION

Work onPlexiglas

2 COMPLEXITY

Work on Plexiglas  80/115 cm 

3 ADVENTUROUS

Work on Plexiglas  90/90 cm

4 After a NO a YES

Work on Plexiglas

5 GRAND VENT

Work ons  130/83.5 cm

6 INNOVATIVE

Work on Plexiglas

7 PARADOXE

Work on Plexiglas

8 VIVE LES VACANCES

Work on 70/70 cm

9 DUNE

Work on 100/80 cm

10 PERSUASIVE

Work on Plexiglas

11 Variable Geometry

Work on 80/80 cm

12 GENEROUS

Work on  70/100 cm

13 US VICTORIOUS

Work on Plexiglas

14 INFINITY

Work on Plexiglas  60/90 cm

15 FORMIDABLE

Work on Plexiglas

Geometric abstract art under Plexiglas: Catherine de Saugy’s Rayures Prints & NFT series.

Since 2002, Catherine de Saugy has been exploring a series of abstract works titled Rayures Prints & NFT, where geometric abstraction and linear rhythm shape the visual composition under Plexiglas. Each work—such as CONVICTION, COMPLEXITY (80 × 115 cm), ADVENTUROUS (90 × 90 cm), GRAND VENT (130 × 83.5 cm), DUNE (100 × 80 cm), and VARIABLE GEOMETRY (80 × 80 cm)—offers a unique variation, asserting a bold visual identity on this transparent medium.

These creations result from a hybrid process: the initial drawing is refined digitally (Corel, Adobe) and then high-definition giclée-printed on the reverse side of the Plexiglas, imparting depth, gloss, and uniqueness. The series also embraces a contemporary digital dimension through the conversion of certain works into NFTs, underscoring the artist’s openness to new digital practices and modern art collecting.

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aventureuses

“The stripe and music… share a common vocabulary: scale, range, tone, degree, line, gradation, gap, interval, etc. Above all, both are tied to the notion of order—whether as classification or as command. Music institutes an order between human beings and time.

The stripe institutes an order between human beings and space.

Geometric space and social space.”

Michel Pastoureau

L’Etoffe du Diable p. 141 et 146