Oliver Beer Makes Monet Resonate: Painting Becomes Sound

Like an echo rising from the water, Oliver Beer’s exhibition transforms Monet’s legacy into a sensory experience that vibrates in the present. The British artist weaves light, sound, and matter into a dialogue that moves through time, giving the Giverny pond - the Impressionist master’s muse for thirty years - a new voice made of frequencies and suspended pigments. For more than eighteen months, Beer immersed himself in Monet’s world: the Grandes Décorations at the Orangerie, the shimmering reflections of the garden at dusk, even the underwater sounds of the pond. From this deep study emerges the series Resonance Paintings – Nymphéas, in which sixteen notes emitted from speakers beneath the canvas set into motion an equal number of powdered pigments, making them “dance” in vibrant compositions. The result is a painting that is not only seen but heard: a soundscape that becomes matter, a vibration that becomes image. Beer continues his exploration of “painting through sound,” a language that blends artistic intuition, acoustic technique, and contemplation. If Monet pursued the luminous instant, Beer captures the hidden resonance within things, transforming the canvas into a sensitive surface capable of recording the movements of the world. Three Nymphéas reveals an artist who uses hearing as a brush and turns perception into an expanded experience - an invitation to pause, listen, and let oneself be moved by the daily miracle of existence.