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In 1934 Vézelay joined and exhibited with Abstraction Création, a collective of artists united in their defence of non-figurative art. At around this time she began to work using more geometric imagery, focusing on balance and clearly contrasting colours, such as the black, white and grey used here. Although the forms in the painting resemble still-life objects such as vases or bowls, Vézelay stated that her forms were not abstracted from life, but wholly invented. [copy and pasted from Tate - need update]
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