Lygia Clark
Geometria Amorosa / Loving Geometry, 1955
Graphite and gouache on card
42 x 53 cm, 16 1/2 x 20 7/8 in, framed
© Associação Cultural O Mundo de Lygia Clark
For works titled ‘Geometria amorosa’, English translation is ‘Love Geometry’ The gouache on cardboard artworks anticipate Clark’s Bichos (‘Creatures’) that the artist made in 1959 and during the 1960s. The...
For works titled ‘Geometria amorosa’, English translation is ‘Love Geometry’
The gouache on cardboard artworks anticipate Clark’s Bichos (‘Creatures’) that the artist made in 1959 and during the 1960s.
The steel Bichos consist of structures made of hinged aluminium plates which, when displayed, were intended to be moved by hand by the viewer.
With the Bichos, Clark carried on her exploration of the transition of form from the pictorial into three-dimensional space.
Clark had a fascination with psychoanalysis and subsequent exploration of the body and mind in art. From 1976 to 1984, the objects she used shifted from being “sensory” to being “relational,” as part of a true therapeutic treatment aimed at structuring the self. At her Rio residence she saw “clients” three times a week, offering one-hour sessions over the course of varying lengths of treatment. They were placed in a state of regression back to a primal stage, while Clark used her objects to work with them on the body’s fantasy dimension.
The gouache on cardboard artworks anticipate Clark’s Bichos (‘Creatures’) that the artist made in 1959 and during the 1960s.
The steel Bichos consist of structures made of hinged aluminium plates which, when displayed, were intended to be moved by hand by the viewer.
With the Bichos, Clark carried on her exploration of the transition of form from the pictorial into three-dimensional space.
Clark had a fascination with psychoanalysis and subsequent exploration of the body and mind in art. From 1976 to 1984, the objects she used shifted from being “sensory” to being “relational,” as part of a true therapeutic treatment aimed at structuring the self. At her Rio residence she saw “clients” three times a week, offering one-hour sessions over the course of varying lengths of treatment. They were placed in a state of regression back to a primal stage, while Clark used her objects to work with them on the body’s fantasy dimension.
Provenance
The ArtistEstate of Lygia Clark
Private Collection