For Patrick Rubinstein, learning the power of perspective came at an early age. The Parisian kinetic pop artist grew up surrounded by artists and art, and in a time where cinema was experiencing a boom of innovation — creating classics that will continue to influence art and culture even till today. Drawing on those influences, he has since gone on to craft an illustrious body of work that celebrates pop icons and a love of joy,
After selling his first artwork at the age of 18, some of his pioneering images are now owned by King Mohamed IV of Morocco, as well as other famous art collectors like French footballer Kylian Mbappé, tennis hero Yannick Noah and architect and designer Philippe Starck. We chat with Patrick after his first solo exhibition, ‘Love in Motion’, about his art philosophy, the endearing allure of pop culture and the importance of emotions in humanity.
How did your relationship with art begin? Where did your exposure to kinetic art come from and what drew you deeper into it?
I hail from Paris, and have been a lifelong resident of Saint Germain des Pres. As a child, making my way to school, I would often pause in front of the windows of art galleries, which showcased the works of some truly remarkable artists. I guess it was in this environment that my interest in art started.
My father introduced me to the concept of Cinetism, explaining that folding paper into an accordion-style creates Cinetism. This is a process of creating two paintings in one. I visited friends’ homes and took photos of their children, then cut the images into strips to attach to the small, pyramid-shaped corners. The effect was stunning and I was able to sell enough portraits to purchase a second-hand car. All of this was possible thanks to my father’s ingenuity. He was a very creative man, often painting beautiful pieces of art in his free time.
Can you tell me a bit about how kinetic art is made? What is The Double Principle and The Triple Principle about?
The Double Principle depicts the fusion of two images designed to blend into one. This newly merged image is applied on a medium in accordion configuration. The application on this medium recreates, at 45° angle, the two original images that can be seen from both sides. Several other images, revealed through interlacing of the two views, become visible as the spectator moves around the artwork.
After a while, I developed a second technique named Kinetic Blade; The Triple Principle depicts three images, one central and two laterals. The side views are created by strips inserted perpendicular to the central image. Two distinct images are visible, from both sides at a 45° angle. This technique allows visual variations when the spectator moves around the work, while maintaining defined sight of the central image.
Your works are the kind of interactive art most people enjoy through screens today, except you made them before there was even a widely-accessible digital medium. Has the advent of technology affected your art making process over the years?
Technology has provided us with tools to make our tasks easier, but technology should not be viewed as an end in itself; all these tools are merely aids, the creative process remains unaffected. Ultimately, everything still originates from the mind and the imagination.
Then what would you say was the biggest challenge you faced in your artistic career so far? How did you overcome it, if you did, and how are you managing it if you haven’t?
My creative journey is one of constant challenge, as I strive to create the perfect painting. I desire to push boundaries and explore new possibilities, always seeking to surprise.
You recently held your first solo exhibition at Ode To Art, titled “Love In Motion”. What was it like seeing your works that started off from a father’s love for his child, blossom into such a diverse and fun repertoire that embodies the universal emotion through so many perspectives?
It’s been a long journey since the day I was 17 when my father introduced me to the principle of Cinetism. Going out of my studio where I lock myself up to work, connecting with others, and having my work seen by the public are always inspiring and rewarding opportunities to share my art.
You look to pop art a lot as inspiration here, and I love that you bring both freshness and familiarity to viewers because of your illusionary art medium. What is the best part about working with pop art and which is your favourite kind of pop art to make art with?
Pop art was revolutionary because it used bright colours, everyday objects, and popular culture to create art that was accessible to everybody rather than just a select few. I take the same approach in my work. I have a particular interest in the American pop art movement.
Since your art is interconnected with the music world, who is your all time favourite music artiste and what’s your favourite track from them?
My love for music is as diverse as my artwork. I enjoy a wide range of genres, from classical to pop to jazz, and I’m always open to listening to something new. One of my favourite tracks when I was a teenager was Elton John’s “Yellow Brick Road”.
Lastly, what is one thing you want those who come into contact with your works to takeaway?
My work is about giving emotion to the viewer and surprising. I want my painting to relate to our universal human desire to feel alive. For me, a work of art is a success if it elicits an emotion, if it resonates with us, if it stirs something within us.
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