From Síntesis Series
- Silkscreen on two Plexiglas panels with steel rods
- Signed and numbered on a label affixed to the reverse
Rafael Jesus Soto’s Espiral Doble is a captivating mixed-media artwork that plays with optical effects and spatial perception. Part of the Síntesis series, the piece consists of two Plexiglas panels, each featuring a silkscreened spiral pattern that, when viewed together, create a dynamic and immersive visual experience. The overlay of spirals produces an illusion of movement, as if the spirals are shifting or vibrating as the viewer changes their perspective. The use of steel rods to suspend the Plexiglas panels adds depth to the composition, emphasizing the sense of dimensionality and interaction between the patterns. Signed and numbered on the reverse, this work exemplifies Soto’s mastery of kinetic art, where light, form, and viewer perception are central elements.
Jesús Rafael Soto (Venezuela, 1923–2005) was a pioneering figure in kinetic and op art. Renowned for his 'Penetrables' series, he created immersive installations that invited viewer interaction, blurring the lines between art and observer. Soto's work explored movement, perception, and the dematerialization of the art object, leaving a lasting impact on contemporary art.
Mixed MediaMixed media refers to artwork that incorporates more than one medium within a single piece. Unlike multimedia art, which combines distinct forms of visual art and often includes elements like sound, video, or digital media, mixed media focuses on combining traditional art materials, such as paint, ink, and collage. Mixed media art allows artists to achieve a wide range of effects and textures by layering and blending different materials.
From Síntesis Series
- Silkscreen on two Plexiglas panels with steel rods
- Signed and numbered on a label affixed to the reverse
Rafael Jesus Soto’s Espiral Doble is a captivating mixed-media artwork that plays with optical effects and spatial perception. Part of the Síntesis series, the piece consists of two Plexiglas panels, each featuring a silkscreened spiral pattern that, when viewed together, create a dynamic and immersive visual experience. The overlay of spirals produces an illusion of movement, as if the spirals are shifting or vibrating as the viewer changes their perspective. The use of steel rods to suspend the Plexiglas panels adds depth to the composition, emphasizing the sense of dimensionality and interaction between the patterns. Signed and numbered on the reverse, this work exemplifies Soto’s mastery of kinetic art, where light, form, and viewer perception are central elements.
Jesús Rafael Soto (Venezuela, 1923–2005) was a pioneering figure in kinetic and op art. Renowned for his 'Penetrables' series, he created immersive installations that invited viewer interaction, blurring the lines between art and observer. Soto's work explored movement, perception, and the dematerialization of the art object, leaving a lasting impact on contemporary art.
Art is not expression; art is knowledge.
- Rafael Jesus Soto
Celebrated for his contributions to both the Op Art movement and Kinetic Sculpture, Jesus Rafael Soto worked with a range of materials to create his trademark sculptural reliefs; his works study the interplay between colours as well as the dynamic between foreground and background, both of which often result in a final optical illusion effect, as exemplified in his acclaimed Vibration Blanc et Jaune work. Soto began his artistic career as a post-impressionist painter, but later discovered the methods and teachings of Piet Mondrian, from whom he gained much of his inspiration. Alongside his notable reliefs, Soto created a number of interactive sculptures that allowed direct audience participation – Penetrables is among his most successful works of this kind, of which the artist has remarked ‘’when you enter a penetrable, you have the sensation of being in a light swirl, a total plenitude of vibrations.’’ (Artist website)
Concrete Art is an art movement founded by the Dutch artist Theo van Doesburg in the 1930s. The movement emphasizes pure abstraction, focusing on geometric shapes and colors without any reference to the natural world or symbolic meaning. Unlike other forms of abstract art, Concrete Art is entirely non-representational and is based on mathematical principles and precise execution. It aims to create universal, timeless works by using simple, clear forms that emphasize objectivity and clarity.