Silkscreen on plexiglas. Incised with artist's signature and stamped Editions Denise René, 1967.
11½ by 16? by 3¼ in. (29.2 by 42.9 by 8.3 cm.)
Executed in 1967, from an edition of 100. Published by Galerie Denise René.
Vibrations by Rafael Jesus Soto is an acrylic sculpture created in 1967, known for its optical and kinetic effects. This artwork utilizes silkscreen on plexiglass, intricately layering lines and geometric forms to produce a sense of movement and dynamic vibration. Soto’s innovative use of parallel lines and intersecting angles creates a rhythmic visual experience, encouraging viewers to explore perception and depth. The piece measures 29.2 x 42.9 x 8.3 cm and is part of an edition of 100, published by the renowned Galerie Denise René, a key supporter of kinetic and op art. The incised signature and stamp authenticate its place within Soto's exploration of optical illusions and viewer interaction.
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.
SculptureAcrylic sculpture refers to both a process and the resulting object. The artist begins by creating a sculpture from clay, plaster, or epoxy, which is then used to make a flexible mold. Melted acrylic is poured into the mold, and once it cures, the acrylic piece is hand-finished through sanding and polishing. Acrylic sculptures are valued for their clarity, durability, and ability to achieve intricate details.
Silkscreen on plexiglas. Incised with artist's signature and stamped Editions Denise René, 1967.
11½ by 16? by 3¼ in. (29.2 by 42.9 by 8.3 cm.)
Executed in 1967, from an edition of 100. Published by Galerie Denise René.
Vibrations by Rafael Jesus Soto is an acrylic sculpture created in 1967, known for its optical and kinetic effects. This artwork utilizes silkscreen on plexiglass, intricately layering lines and geometric forms to produce a sense of movement and dynamic vibration. Soto’s innovative use of parallel lines and intersecting angles creates a rhythmic visual experience, encouraging viewers to explore perception and depth. The piece measures 29.2 x 42.9 x 8.3 cm and is part of an edition of 100, published by the renowned Galerie Denise René, a key supporter of kinetic and op art. The incised signature and stamp authenticate its place within Soto's exploration of optical illusions and viewer interaction.
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.