Pierre Kiandjan’s work brings a new singular way of making op art, mixing 20th Century rules and current techniques.

His main and absolutely innovative signature consists in a method he has invented : stereosymmetry. It means that his structures all have symmetrical axes or centers even though colors aren’t symmetrical. That discrepancy between colors and shapes fosters the vertigo and / or emotion into the eyes of watchers, and fits this way with the artistic line of the historic 1965’s Responsive Eye exhibition at MoMA in NYC that made op art become such a major movement.

Kiandjan found an interest in art very soon when he was able to master both gradient skill and balanced geometric shapes. Much of his career is committed to drawing and creating lithographs. He showed growing interest in artistic avant-garde movement in America : Ivan Serpa, Jesús-Rafael Soto, Barbara Kasten, Frank Stella, Carlos Cruz-Diez, and Edna Andrade. He was also influenced by Bauhaus movement, El Lissitzky, František Kupka, and László Moholy-Nagy.

In his Paris studio, Kiandjan mixes colors and light to give birth to abstract and geometric representations. In his works, the progression of forms with slight variations create illusions of rhythmic movements when completed. It consists of building complex constructions in the assembly of simple patterns. It reveals an innovative use of gradients and breaks in shapes in the act of depicting a three-dimensional space onto a two-dimensional plane.