The “Taller del Sur,” also known as TTG (Taller Torres-García), was founded on a dual model: medieval craft guilds and modern art schools such as Bauhaus and Black Mountain Collage. Although diametrically opposed to the technological and industrial orientation of the latter, the Taller became the epicenter for a new generation of Uruguayan artists. The workshop, which quickly attained legendary status, had a vocational interdisciplinary nature; it intended to break antiquated models and hierarchies between design, craft and art. A devoted practitioner and ideological member of the Taller, Gurvich bridges the neo-platonic teachings of Universal Constructivism and the broad spectrum of abstract pictorial expressions advanced by European contemporary movements such Art Informel.
Estructura con figuras from 1960 reveals the artist’s penchant for objective experience. Human forms, a glass of wine, a seemingly floating bottle, the ubiquitous clock—iconographical elements connected to the prescripts of the Taller Torres-García—make reference to observational reality. While undeniably Constructivist in spirit, Estructura con figuras also palpates with Kinetic and Op influence. An accomplished example from his mature period, the work reveals a dynamic and undulating composition where sinuous relief elements and straighter geometric areas confront each other; their pictorial space overflowing the perimeter of the canvas.
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