Lot 222
  • 222

Sergio Camargo

Estimate
100,000 - 150,000 USD
Sold
337,500 USD
bidding is closed

Description

  • Sergio Camargo
  • Relief No. 246
  • signed, titled and dated 69 on the reverse
  • painted wood construction

Provenance

Gimpel & Weitzenhoffer Ltd., New York
The 24 Collection, Miami (acquired from the above)
Private Collection, Miami (acquired from the above)
Thence by descent to the present owner 

Exhibited

New York, Gimpel & Weitzenhoffer Ltd., Sergio de Camargo: White Reliefs, May 1969, no. 45

Catalogue Note

Born in Rio de Janeiro, Sergio Camargo studied under the tutelage of modernist luminaries Emilio Pettoruti and Lucio Fontana at the Academia Privada de Altamira in Buenos Aires.  A brief sojourn in Paris quickly followed, where he studied philosophy and sculpture at the Sorbonne, where Camargo met Brancusi, Arp, Auricoste, and Vantongerloo. Upon his return to Brazil in 1950, Camargo encountered a country thoroughly enmeshed in the utopian manifestations of modernism and its impact on the artistic production of the new generation of Brazilian artists, including Lygia Clark, Helio Oiticica, and Abraham Palatnik, among others who were fully promoting the Constructivist and Neo-Constructivist movements via their manifestos and art production (Maria Alice Milliet, "From Concretist Paradox to Experimental Exercise of Freedom," Brazil: Body & Soul, New York, 2001, p. 391).

Simplistic in its construction, Relief No. 246 (1969) is representative of Sergio Camargo's signature approach to a sculptural practice simultaneously rooted in the constructivist methodology of the first half of the twentieth century and in the informal and abstract geometric tendencies that defined Brazil's post war vanguard artists of the Concrete and Neoconcrete art movements. More importantly, it is in the series of the wood-cone Reliefs that came to dominate his oeuvre by the 1960s, where Camargo sets the tone of his unique visual idiom: “rhythms of organized growth are movingly suggested in his wooden reliefs” (SIGNALS, Dec. 1964-Jan.1965, p. 3). In a calculating sensory experiment, the artist deliberately places wooden-dowels of varying sizes, concentrated within the center of the relief resulting in a parallel interplay of light, volume, tactility, logic, chaos.

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