For more than three decades, Lygia Clark (b.1920; d.1988) created works that proposed a radical reassessment of the role and function of art. Primarily working in painting, sculpture, performance and, later psychoanalytical experiences, Clark intended to break down traditional ideas concerning the artist, artwork and viewer. Her pioneering practice questioned the relationship between art object and spectator, through corporeal and organic forms that encouraged physical encounters and sensorial experiences.

The 'Bicho' series, initiated in the 1960s, marks a crucial phase in Lygia Clark’s practice when she furthered her investigation of form transitioning from the pictorial plane into three-dimensional space. The word 'Bicho' – Portuguese for ‘critters' or small animated creatures – aptly describes these hinged metal sculptures that are designed to come to life through viewer interaction. As a result, the work's dimensions vary, with multiple possible configurations depending on how the viewer manipulates the work and which arrangement it rests in.

Clark’s process began with balsa wood studies before she personally made a 'Bicho' maquette in metal in her studio, one for each type in the series she made. These original maquettes remain unique, handmade works by Clark herself. Different scale versions were sent to be fabricated following her precise instructions and issued as Editions of 5 + 1 Artist Proof. Thus, the maquettes stand apart as one-of-a-kind, tangible manifestations of her vision and the only Bichos made by the artist's own hand in her studio.

This is the last remaining Bicho from The Estate of Lygia Clark and is accompanied by a certificate of authenticity from the Clark Association / Foundation in Rio.