This was the task of the kinetic artists, and within that undertaking the Venezuelan Jesus Soto is one of those who has contributed most toward creating that new dimension of spaces, forms, and forces."
Arturo Uslar Pietri in Alfredo Boulton, Soto, Caracas 1973, p. 210
Venezuelan artist Jesús Rafael Soto developed an original kinetic vocabulary with origins in serialization which in turn, resulted in optical vibrations that modify both space and the viewer’s perception—a defining characteristic of Latin American abstraction.
Throughout a career that extended over five decades, Soto experimented with chromatic planes and the transformable qualities of color, exploring the relationships between parallel lines and the figure and between background and foreground, in order to generate movement in paintings, three-dimensional constructions, and reliefs.
From the beginning, Soto’s Vibraciones were understood as paintings in which he integrated movement into the two-dimensional surface through a structural superimposition of lines, suspended elements, and geometric figures that generated optical vibrations as the viewer moved. The present work, Gran vibración azul y negra is an outstanding large scale example of this widely admired and lasting series.
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