Sin título (Tecelar) (Untitled [Tecelar])
- Technique:Ink on Japanese paper
- Dimensions:Support: 92,7 x 61,8 cm
- Category: Work on paper, Drawing
- Entry date:2008
- Register number:DE01858
The constructive wood prints that Lygia Pape produced between 1956 and 1958, known as Tecelares (Weavings), which this work is taken from, involved the use of a popular traditional Brazilian technique, here applied to geometric spatial forms in a plastic experiment that ignored the multiple nature of the technique to create a one-off piece. Thus, Pape’s work contains a rejection of the reproducibility of the work offered by the technique. The living geometry of the works marks out the path that Lygia Pape took towards a Neo-Concretism based on the phenomenology of perception, recuperating a craft technique transformed by Josef Albers’ knowledge of optical games and Malevich’s intensity. Pape wrote: “What exists is simplicity, and the simple things are the most complex, however paradoxical that may seem.” These works come together in a flow of magnetised forms and motion in space. The Tecelares, alongside her light-poems and object-poems, were Pape’s key works in the area of Neo-Concretist investigation, which would result in her Livro da Arquitetura (Book of Architecture), Livro do Tempo (Book of Time) and Livro da Criação (Book of Creation) between 1959 and 1960.
Carmen Fernández Aparicio