Lygia Clark (1920-1988)

Galeria de Arte Paula Vasconcellos, São Pãulo
Acquired directly from the above by the present owner 1989

The sculpture is in very good condition. The construction is made up of 10 aluminum panels that are hinged together to form one unit. The hinged panels allow for numerous ways to position the sculpture. Each panel exhibits a small discreet hand stamped number on it .The aluminum displays a semi-reflective surface with a satin directional finish. Because of the kinetic nature of the sculpture tiny nicks and scratches can be seen on all of the panels, which is a result of the pieces coming in contact with each other. The sheets of metal have minor crimps and divots in them. The metal appears more scratched and worn at the center of the construction where the various panels converge and make contact with one another as the sculpture changes positions. Abrasions can be seen on those hinges that rub against other elements. On panel 6 the bottom hinge appears open and flat exposing the pin that it is intended to cover. At the center of panel 1 the metal appears slightly bent where the hinges come in contact with it. Several small superficial accretions were noted on the surface. (This condition report has been prepared courtesy of Wilson Conservation, Inc.) For additional information and photographs, please contact the Latin American Art Department 212-606-7513
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

My latest works have been
called ‘animals’ because of
their essentially organic
aspect. And besides, having
used a hinge to join the plates,
it suddenly reminded me of
a backbone.

The arrangement of the metal
plates determines the positions
of the ‘animal’, which at first sight
appears to be limitless. When asked
what are these possibilities of movement,
I usually answer: ‘I don’t know, neither
do you, but “IT” does.’

The ‘animals’ have no  wrong side.
Each ‘animal’ is an organic entity
completely revealed inside his inner
time of expression.

He is alive, and an essentially active
work. A total, existential interaction
can be established between you and
him. And in this relationship there is no
passivity, neither on your part nor
on his.

There is in fact a dialogue in which
the ‘animal’ gives, to the spectator’s
prompting, well-defined answers.

This relationship, up to now abstract,
between man and the ‘animal’
becomes real.

The ‘animal’ has his own and well-defined
cluster of movements which react
to the promptings of the spectator.
He is not made of isolated static forms
which can be manipulated at random,
as in a game;  no,  his parts are functionally
related to each other, as if he were a living
organism; and the movements of these parts
are interlinked.

The first movement (yours) does not
belong to the ‘animal’. The inter-linking
of the spectator’s action and the ‘animal’s’
immediate answer  is what forms this new
relationship, made possible precisely because
‘the animal’ moves—i.e., has a life of its own.

-Lygia Clark, "Lygia Clark, I 'Animals, 1960", SIGNALS, London, April-May 1965