Despite the fact that the works themselves are a carefully calculated symphony of light and surface, their genesis was entirely accidental. Cutting up an apple to eat, Camargo was enthralled by the relationship between the two planes created by his cuts. As Guy Brett notes, “in the apple was the synthesis he had been working towards and which now united all the past stages of his work – the combination of a single element of substance (the rounded body of the apple) and direction (the plane he had just exposed)” (Guy Brett, Camargo, London 1966, n.p.). This tension between stasis and movement recalls the sensuous geometry of the Neo-Concretists in Brazil, such as Lygia Pape and Hélio Oiticica, as well as the Op art of Bridget Riley and Jesús Rafael Soto. The volume of the sculptural surface appears to fade and dissolve, the cut cylinders jostling for space, “interweave[ing] the information of our tactile and visual senses in a revolutionary way” (Ibid., n.p.).
Similar to Enrico Castellani’s Superfici Bianche and Günther Uecker’s iconic nail reliefs, Camargo’s palette forced the viewer to confront an elemental aspect of his work, that is, the role of light. If the craft and subject of the work is vested in the canvas, the aesthetic relies on the light that hits it. The cut cylinder which formed the cornerstone of Camargo’s artistic lexicon creates a ripple of light and shadow across the surface of the construction, miniature peaks and troughs appear, vibrating and metamorphosing constantly with the movement of both light and viewer. As a result, Untitled (Relief No. 302) is as much as anything an experiential piece, where the viewer and his surroundings dictate the perception of the piece itself.
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