Screenprint on three seperate plexiglass screens framed in a wooden box. Published by Edition MAT (multiplication d’art transformable), Paris.
A landmark of kinetic art, this 1964 multiple comprises three screenprinted plexiglass panels housed within a black wooden box, their overlapping striped patterns generating a shimmering, three-dimensional optical field that transforms with the viewer's every movement. Published by Edition MAT in Paris, the work belongs to Soto's pioneering investigations into the dematerialisation of form through perceptual instability. As one of the foremost exponents of Op and kinetic art, Soto created objects that dissolve the boundary between artwork and viewer, making each encounter uniquely dynamic. This edition is a foundational object from the movement's golden age.
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.
Screen-print Screen printing is a technique where ink is transferred through a mesh onto a substrate, with areas blocked by a stencil to prevent ink from passing through. This method, also known as serigraphy or silkscreen printing, is commonly used to produce prints on posters, T-shirts, vinyl, stickers, wood, and other materials. The process is a type of stencil printing, allowing for vibrant, detailed designs on various surfaces.
Size
Inches
Centimeters
32 X 32 X 15.5 cm
Edition
Edition of 100
Price
USD
EUR
GBP
CHF
22,000USD
?
+ VAT/import Duties (if applicable)
Authenticity Guaranteed
Insured Shipping
Online Since 2005
Share
●Inventory 17113
●Hand-signed by artist, Signed in felt tip pen on the label affixed to the base.
Screenprint on three seperate plexiglass screens framed in a wooden box. Published by Edition MAT (multiplication d’art transformable), Paris.
A landmark of kinetic art, this 1964 multiple comprises three screenprinted plexiglass panels housed within a black wooden box, their overlapping striped patterns generating a shimmering, three-dimensional optical field that transforms with the viewer's every movement. Published by Edition MAT in Paris, the work belongs to Soto's pioneering investigations into the dematerialisation of form through perceptual instability. As one of the foremost exponents of Op and kinetic art, Soto created objects that dissolve the boundary between artwork and viewer, making each encounter uniquely dynamic. This edition is a foundational object from the movement's golden age.
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)
Geometric abstraction is a form of abstract art that uses geometric shapes arranged in a non-illusionistic space (though not always) and combined into non-representational (non-objective) compositions. Based on years of artistic research, some artists have proposed that geometric abstraction offers a solution to modern challenges by rejecting traditional illusionistic practices in favor of clarity and simplicity.