1950 2 2016 color dating fabric guide arabc xexe

02-May-2016 08:53

He later referred to white as ‘the ideal colour-light, the synthesis-light of all colours’.

Meanwhile he began working on a series of irregularly shaped double-sided white paintings, 1959.

Consisting of five chromatic penetrables, it was conceived as a monumental magic garden for intense aesthetic experience, and incorporated sand gardens and areas for the appreciation of music, poetry and theatre.

Oiticica continued to construct maquettes for colour environments, including the 1961 was the first free-standing penetrable, a small-scale cabin with sliding coloured panels, which the viewer was encouraged to enter and participate in the sensory experience.

But his unique and radical investigations led Oiticica to develop his artistic production in ever more inventive directions.

Through his work he was to challenge the traditional boundaries of art, and its relationship with life, and to undermine the separation of the art-object from the viewer, whom he turned into an active participant.

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Oiticica’s experimentation with the interaction between colour and light continued with a series of yellow and red monochromes, including triangular paintings, and the first in the series of 1959–62, painted structures composed of vertical layers of colour.His work from this period shows an affinity with the abstract idiom of the group, as well as the influence of modernist masters such as Paul Klee, Kasimir Malevich and Piet Mondrian.These early works, mature for such a young artist, contained the essence of what was to follow.They were designed to be handled, with moveable panels revealing new chromatic planes.

With the introduction of glass Bólides into the series Oiticica began to incorporate loose pigment in the works and to include everyday materials such as glass vessels, plastic, earth, painted cloth, shells and foam, to expand the range of sensory experience offered through interaction with the artwork.

The final pieces from this series were white abstract compositions, which eventually led to the series of white-on-white paintings, 1958-9.