Vincent Beaurin's exhibition Incarnat is conceived on two axes: color, and the body and its finitude.

The core of most of his works is made of polystyrene wrapped in a skin of glass flakes that sparkle like stars in the night sky or snow crystals. The slightest flash of light animates them.

The relatively large size of the colored glass particles allow the colors to be combined by juxtaposition in the manner of the Divisionists or Pointillists and the transparency of the material by superposition, as in the traditional technique of glazing.

The sculpture of an ungrateful material such as polystyrene, left more and more often in a rough state, reminds us that there is no transmutation of gold into gold.

In the first room, a set of twelve Ocelles and a Dais frame two statues, Nun and Stèle.

"Here, color digs in, sucks in, and runs through."

In the second room on the first floor, three Nun statues in a row face a triptych of Ocelles. 

An ornamental applique Mangouste (Mongoose), an ocelle made of glass and (shale) flakes, and a marble sand landscape punctuate the arrangement.

Upstairs, in the small boudoir-like room, Passuk,Harrison and Duval, three small tragicomic scenes, occupy the foreground with a Blue Bird in the form of an infinite figure 8. Three Symi watercolors form a contemplative background. 

In the main room, Vincent Beaurin presents for the first time the Organisms, oil paintings augmented with a chromatic and three-dimensional support that anchors the work, just as the frame would traditionally do.

Hombre tries to escape.

All these works are motivated by a desire for fullness, appeasement and abstraction.