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Lot Essay
"The immaterial is the sensory reality of the universe. Art is the sensory knowledge of the immaterial. To become conscious of the immaterial in its state of pure structure, is to make the final leap towards the absolute" (Soto, quoted in, Soto: A Retrospective Exhibition, exh. cat. New York, 1974, p. 19).
Venezuelan-born Jesús Rafael Soto was a key figure of the Op and Kinetic art movements. Along with Victor Vasarely, Jean Tinguely, Alexander Calder and Marcel Duchamp he participated in the 1955 Le Mouvement exhibition at Galerie Denise René which helped establish kinetic art as a popular art form.
Spectator participation is crucial in Soto's works. Influenced by the constructivists as well as Piet Mondrian and Calder, Soto set out to continue exploring their concern with objects' location in time and space. The artist's main interest resides in the visual depiction of movement and immaterial sensory experiences.
In this work, the suspended metallic rods result in optical vibrations, presenting the viewer with an altering perception of the work as it appears to be in motion. Although the spectator perceives these vibrations, their intangibility contributes to the dematerialization of the present work, allowing Soto to strike a mysterious balance and make the viewer aware of the physical properties of the work while introducing an ethereal dimension.
Venezuelan-born Jesús Rafael Soto was a key figure of the Op and Kinetic art movements. Along with Victor Vasarely, Jean Tinguely, Alexander Calder and Marcel Duchamp he participated in the 1955 Le Mouvement exhibition at Galerie Denise René which helped establish kinetic art as a popular art form.
Spectator participation is crucial in Soto's works. Influenced by the constructivists as well as Piet Mondrian and Calder, Soto set out to continue exploring their concern with objects' location in time and space. The artist's main interest resides in the visual depiction of movement and immaterial sensory experiences.
In this work, the suspended metallic rods result in optical vibrations, presenting the viewer with an altering perception of the work as it appears to be in motion. Although the spectator perceives these vibrations, their intangibility contributes to the dematerialization of the present work, allowing Soto to strike a mysterious balance and make the viewer aware of the physical properties of the work while introducing an ethereal dimension.