The works of this period are characterized by a constructed expressionism, the palette of which refers to that of the wild beasts. But already his subjects exceed the objective reality.
1955 is the year of his definitive return to France and his break with figuration.
For Laks, the capital is a center open to all horizons whose poles are getting closer. His studio in Villa Saint-Jacques with its hidden garden is the symbol. From this place start several axes: the one that leads to Cérès Franco, Brazilian passionate about 'primitive' art and who likes to entertain artists and collectors in his apartment in the rue Quincampoix, located above his gallery, L'Œil de Bœuf , a cosmopolitan crossroads where he exhibits in a group. There is the path to Gildas Fardel's home for Bozzolini, Huguette Arthur Bertrand, Fichet, Seund Ja Rhee and Laks. On the walls of his apartment, the works of his painter friends rub shoulders with the Kandinsky, constituting the collection that this great art lover bequeathed to the Museum of Nantes.
Through the fair of Realities News to which it exposes regularly since 1960, it is connected with the Romanian colony Alexander Istrati, Natalia Dumitresco, Brancusi. (...) Finally there is the office of Michel Tapie at the Stadler Gallery, rue de Seine, a pivotal cosmetic empire through America, Japan, Iran, Italy and especially Turin where he Founded the 'international Center of Aesthetic Research' Universe 'outsized' for Laks who exhibit in 1968 (catalog prefaced by Michel Tapie) kind of informal international art where prevail gesture, stain, Sign to lead to an enchantment.
Member of groups V then Signs / Spaces / Sets of signs, he is also co-founder of associations Art & Prospective and Limitrophe. The undeniable mural presence of Victor Laks' works has often made them associate with architectural integration ensembles.
The work of Victor Laks is crossed by periods. First figurative, she moves towards abstraction, an evolution that he comments as follows: 'Painting, I discovered a painting that I did but which, at the same time, of itself was made ... I had to, therefore, detect the ways and the springs of an essential dynamic that exceeded me'. This new practice of painting leads him to tame the forms. Between stable structures and movements, between density and 'spared areas' (Victor Laks), between painting in gray tones, brown sometimes blue and then radically black and white born a world in tension.
From 1968, the color returns and his paintings, his washes, gestures in their general movement, then appear as plant proliferations, networks of black lines intertwining indefinitely until occupying the entire space of the surface.
His way is remarkably personal, if one finds traces of gestural painting, dripping and even street-art, his writing evolves according to the periods but remains present and immediately identifiable.