VANTA - Flare III - NO RESERVE

Flare
Flare is a painting series exploring the sudden bloom of light — the brief, brilliant moment when a color seems to swell outward from its center and briefly overtake the surface. Each work centers on a radiant core that appears to expand into the space around it, a flash of warmth caught mid-motion, held quietly on canvas. The paintings behave less like static images than like moments of illumination — an intimate, hand-made counterpart to the immersive luminous environments explored in contemporary art and interior design.

The works are in conversation with James Turrell's investigations of perceptual space, and draw on the chromatic fields of Mark Rothko, the saturated immersions of Yves Klein, the atmospheric installations of Olafur Eliasson, the pigment work of Anish Kapoor, the color meditations of Josef Albers, and the soft gradients of Wolfgang Tillmans' abstract photograms — artists for whom color, edge, and transition carry the weight that line and form do elsewhere. Something of Dan Flavin's fluorescent geometries and Robert Irwin's perceptual light works also sits quietly in the background of the series — a lineage of makers interested in light as a material in its own right, alongside a broader modern design sensibility rooted in Bauhaus color theory and Scandinavian minimalism.

Each canvas is worked with acrylic paint on canvas at 140 × 100 cm, laid in thin, vibrant fields. A wide brush is drawn across the surface in a single, repeated motion until the pigment thins to near-transparency, allowing the white of the canvas beneath to glow through. Under certain lighting the paintings stop reading as paint entirely and seem lit from within, taking on an almost luminous, lamp-like quality that shifts throughout the day. A heavy protective varnish finishes each work with a glossy, reflective skin that deepens the sense of looking into rather than at the surface — an archival finish suited to long-term collection and display in contemporary interiors, whether in a private home, a design-forward space, or a gallery setting.

Flare is a series about the moment of arrival — color surging outward from its source, light caught at the peak of its bloom, the quiet drama of a hue reaching the edge of its own brightness.


Shipping:
The work is delivered without a frame (professional packaging, rolled in a tube). it can easily be restretched by a professional or on your own, this is also cheaper then the otherwise increased cost of shipping when sending paintings stretched

The measurements indicated are those of the painting stretched and mounted on a frame (The actual measurements of the canvas are larger to allow it to be mounted on a frame 2-4 cm thick.


Disclaimer:
Process photos included in the listing show studies and works in progress, as well as close up photos of showing the structure of the canvas.


VANTA
VANTA is a young Austrian artist whose practice is defined less by a signature subject than by a restless, almost obsessive drive to experiment across mediums. Painting, mixed media, sculptural experiments, and material tests all move through the studio in parallel — each new series arriving as the answer to a specific question about how far an idea can be pushed before it becomes something else entirely.
Based in Vienna, VANTA has exhibited at some of the city's most prominent contemporary art events, including Viennacontemporary and the Parallel Vienna art fair, alongside international presentations at Budapest Contemporary and Contemporary Istanbul. Stylistically the work refuses to sit still: bold, high-contrast black-and-white abstraction sits alongside figurative anatomical oil paintings, quiet color field compositions, atmospheric gradients, and fluid ink works — bodies of work that at first glance appear to belong to different artists entirely, yet share a common thread: the pursuit of a very specific image held in the mind, and the search for the exact material process that will bring it into the world.
Rather than settling into a recognizable style, VANTA treats each series as its own self-contained inquiry. One body of work might explore the threshold where pigment dissolves into pure luminosity; another might build dense fields of horizontal color through hand-cut stencils and layered acrylic; another might turn toward the human figure in oil, or dissolve into the loose, unpredictable gestures of ink. What binds them is the process itself — the discipline of chasing an idea from imagination toward surface, and the willingness to invent whatever technique that pursuit demands.
At the center of the practice is a simple, stubborn question: how close can a made object come to the thing first pictured in the mind? Each series is another attempt at an answer.