Carlos Cruz Diez

CARLOS CRUZ DIEZ (Caracas, 1923 - Paris, 2019).
"Harmony A". Table de chromointerférence, Paris, 2017- Edition 2020.
Wood, glass and methacrylate table. Exemplary 7/21.
Attached author's packaging with title and print run.
Presents plate on the leg with signature, title and measurements.
Signed on the table top.
Measurements: 40 x 100 x 103 cm.
Carlos Cruz-Diez created the Table Chromointerférence in 2017, based on his research called Chromointerférence. It is a playful work that allows the manipulation of black wefts of geometric shapes, on the surface of the table, which presents a series of chromatic modules. The interferences of these modules with the black wefts generate the appearance of an infinity of color ranges. These colors that emerge with the manipulation are virtual, that is, they are not chemically present on the surface of the table, but they are as real as the pigment colors of the background.
The French-Venezuelan artist, Carlos Cruz-Diez, has lived and worked in Paris since 1960. He is one of the most relevant protagonists of optical and kinetic art, an artistic current that claims "the awareness of the instability of the real". His research reveals him as one of the thinkers of color in the 20th century. The plastic discourse of Carlos Cruz-Diez gravitates around the chromatic phenomenon conceived as an autonomous reality that evolves in space and time, without the help of form or support, in a continuous present. He began his artistic training in 1940, studying at the Escuela de Artes Plásticas y aplicadas, where he later became a professor. During his time as a student, he began to collaborate with publications such as La Esfera, where his comic drawings were shown. In 1944, he worked as an illustrator and graphic designer for the magazine El Farol, as well as for other publications. Two years later he became the creative director of the McCaan-Erickson advertising agency. In 1954 he began working on mural projects, in which he showed his interest in color, abstraction and geometry, which were exhibited at the XV official Salon. A year later he moved to Barcelona, visited Paris and in 1956, he exhibited his work at the Buchholz Gallery in Madrid. After traveling to New York and Paris, he returned to Caracas, where he founded the Estudio de Artes Visuales, dedicated to industrial design. A studio where he developed work that would influence his later series, such as Couleur Additive and Physichromie (Physichromia). Based on the color field current represented by Kenneth Noland and Op art. Mainly abstract current, which is based on the pictorial composition of purely optical phenomena, seeking the sensation of movement on a two-dimensional surface, deceiving the eye through complex optical illusions. Repetition structures with a clear order are used, based on rigorous scientific principles in order to produce unprecedented visual effects. In this case the principles of Op Art are put at the service of figuration, using the repetition of geometric shapes and the juxtaposition of flat colors. In 1960 he returned to Paris, definitively, and a year later he participated in the exhibition Bewogen Beweging at the Stedelijk Museum in Amsterdam where artists such as Allan Kaprow, Alexander Calder, Moholy-Nagy, Robert Rauschenberg, Jean Tinguely, Marcel Duchamp, Victor Vasarely also collaborated. In 1965 he participated in The Responsive Eye at the Museum of Modern Art in New York, an exhibition that was the official consecration of kinetic art.