Crafting Infinity: Her Journey in Art and Matter
AATONAU has published an in-depth feature on my artistic journey and studio practice, charting my evolution from early explorations to more recent works focused on light, kinetic, and human perception.
Seeing in the Dark
One of Nathalie’s first commissioned works—glow-in-the-dark murals for London nightclubs—taught her to look at light differently. That early experience shaped her perception of space and energy, opening the door to an artistic path rooted in intuition, transformation, and the unseen.
AANOTAU
Multiverse made by Nathalie Vin - 2014
Photo credit: Simon Martner
Below: Space Odyssee by Nathalie Vin
Photo credit: Gill Cargill
“Since then, I’ve treated glow-in-the-dark not just as a visual effect but as a living signature woven into each piece.
With phosphorescent pigments, I inject an energetic pulse that only awakens when the lights go down. In darkness, my work transforms: subtle outlines bloom into luminous forms, shadows give way to an otherworldly vitality, and my personal mark—once invisible—comes alive with force.
By concealing and revealing, I draw on those early lessons of seeing without light to create a nocturnal language of energy and spectral dialogue”.
Matter and Meaning
"Recognized for her exploration of pixelization, Nathalie’s work blurs the boundaries between material and message—constantly shifting between the tactile and the conceptual.
AATONAU
Lost Cosmos by Nathalie Vin
Photo credit: Simon Martner
PIXELISATION - DISCRETE UNITS OF MEANING
“Working with pixel-like elements in a physical, non-digital context allows me to reduce form to its essence—breaking the world into discrete units of meaning. Each fragment becomes a small carrier of energy, part of a whole that only reveals itself when assembled.
The process is meditative, echoing ancient mosaic traditions while reflecting today’s coded, modular reality. My use of pixelization brings digital logic into the physical realm, where each unit holds texture, presence, and intent.
Pixelated forms create a constant tension between clarity and abstraction. Step back, and the image appears; move closer, and it dissolves into structure—mirroring how we experience perception itself: fragmented, layered, always shifting”.
Themes of Humanity and Perception
“Her practice explores humanity in all its complexity—from post-apocalyptic futures to moments of collective failure—always inviting the viewer to reflect on what lies beneath the visible”.
AATONAU
One way ticket by Nathalie Vin Photo credit: Studio Mallorca
One way ticket by Nathalie Vin Photo credit: Simon Martner
Gold and the Infinite
“Her fascination with gold is spiritual, scientific, and aesthetic. In The Ripples Must Be Endless, she explores the eternal connection between matter, energy, and vibration”.
AATONAU
The Ripples must be endless by Nathalie vin
Photo credit: Simon Martner
Let There Be Light by Nathalie Vin Photo credit: Lorenzo Goat
My fascination with gold has nothing to do with wealth or status. It’s a material that captivates me on a deeper level—when I’m in front of it, I feel like a child again, caught in a moment of pure contemplation.
Gold is a noble metal: it doesn’t oxidize, rust, or corrode. It’s indestructible—your wedding ring could once have been a Roman coin.
It’s also incredibly versatile. A single gram can be stretched into a square metre of gold leaf or drawn into fine threads for embroidery. There’s an elegance in how it transforms while never losing its essence.
FROM MIND TO HANDS
“She does not have a preferred medium but when it comes to matter (mixed media and mosaic art) she relishes the tactile engagement with each material: It is important for her to take the time to study its texture, the way it behaves to pressure, to know its limits so she can guide it smoothly rather than force it.”
AATONAU
Here, Nathalie composing Let there be light with 24k black shades of handmade gold tiles …
Photo credit: Lorenzo Goat
Nathalie working with acrylic components on canvas
“All kinds of matter fascinate me, each material has its own logic and hidden potential. I
often open up old and broken machines just to recover their components; there’s a real
sense of wonder in discovering how things are made. It feels a bit like opening a gift. Each
salvaged component will, one day, become a quiet contributor to a larger, unseen idea."
To be continued…