Victor Vasarely—described as the “Master of Optical Illusions” (Süddeutsche Zeitung) or the “Master of Deception” (Die Zeit)—is recognized as a founding figure and leading exponent of Op Art. From the start of his career, he systematically explored human perception and developed a universal visual language, grounded in technology and science, intended to help democratize art. His idea of a visual alphabet, based on specific rules that allow for ever-changing compositions, not only challenged the prevalent notion of the “artist genius” but also aimed to give people access to art through a universally understandable visual language, even without cultural or historical knowledge.

This aspiration and the fundamental principle of his artistic practice are clearly evident in his work “MÉH.” Against a black background that recalls the infinite expanse of the universe, he employs an extremely limited range of colors and forms to achieve the greatest possible effect. The basic geometric shape of the rectangle is maintained and varied strictly according to a few fundamental rules. He deliberately uses color and proportion to create a cube-like structure in the viewer’s eye—one that appears to change shape depending on the viewer's angle, making them an active part of the artwork; an achievement only a few artists had accomplished and one that gained widespread recognition through Op Art.

In psychedelic-illusionistic works like this one, Victor Vasarely perfected his visual language of geometric grids, distorted lines, and contrasting color palettes in the 1980s. His employment of rhombuses, cubes, and hexagons is highly deliberate, designed to create the illusion of three-dimensionality, produce visual effects, and play tricks on the eye. The titles of his works, such as “Dirac” or “Photon,” often reflect his lifelong fascination with physics, astrophysics, and geometry. The title “MÉH,” on the other hand, likely traces back to Vasarely’s Hungarian heritage and his engagement with the natural sciences. Translated into English, it means “bee” and, in the context of the composition, evokes a kind of systematized beehive in which the rules of geometry have taken hold. Vasarely himself, however, would likely counter this comparison by saying: “There are no tangible references to objects in my compositions, yet they radiate light!” (Victor Vasarely, in: Art of the 20th Century, Vol. II, Neuchâtel 1973) [AR]