In ‘Curvas Inmateriales’, movement is generated by air currents so delicate that the presence of a moving spectator is enough to activate it, giving the viewer an active role in the artwork. In addition to movement, Soto also realised that the surrounding light conditions have a powerful effect on our perception of the art object. To maximise the potential of this, in ‘Curvas Inmateriales’ the lengths of curved wire in suspended motion are painted in yellow and white and presented against a ground of thin black and white lines, appearing immaterial and magical. Gordon Lambert bought Curvas Inmateriales, directly from the artist’s Paris studio in 1967. It was the only artwork from an Irish collection to be included in the first Rosc exhibition held in Dublin the same year.
|Medium||Painted metal rods, nylon, acrylic on board|
|Dimensions||107 x 107 cm|
|Credit Line||IMMA Collection: Gordon Lambert Trust, 1992|
|Item Number||IMMA.383 GL|
|Copyright||For copyright information, please contact the IMMA Collections team: [email protected].|
Venezuelan artist Jesús-Rafael Soto trained in Caracas. Soto moved Paris in the early 1950s and together with such artists as Yaacov Agam, Jean Tinguely and Victor Vasarely, he became a member of the young avant-garde. The incorporation of movement and the physical engagement of the viewer in his art works established Soto as a leading figure in kinetic art. Soto exhibited internationally from the 1970s. The Jesús Soto Museum of Modern Art opened in Ciudad Bolívar, Venezuela, in 1973.View Artist
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