1958

1958

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COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»

1958

1958

In 1958, I began experimenting with what I called “Planes in Surface Modulation”. The apparent solidity of the last group of works is now reduced to a flat surface, which, however, appears as curved to the eye. This illusion may be put down to the fact that points m A and B are not joined together. Up to now the abstract problem I was working out had pushed out the element of expression, but this now began to come in again. In fact, what I wanted to do was express space itself and not compose within it as on an already– established surface. The given two-dimensional surface, on which the work must be created, becomes only an abstract basis which acquires meaning only in so far as it becomes itself the expression of space.

I became aware of the difference between the space expressed by consecutive forms and the other space I called ‘organic’. With the consecutive composition, there is the spectator and there is the work. He stands apart

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COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»

1958

from the work and stays in that position, exploring the space by using each shape as a separate jumping-off point and destination (Fig 6-A) He doesn’t sense the whole space vividly but fabricates it in his mind by putting together consecutive impressions. What I wanted was for the spectator to take an active part in this created space: to have the sensation of being himself within it, experiencing it as an organism (Fig 6-B).

Try looking at the objects in your room from these two points of view. From the second point of view – organic space – you yourself take part in a situation in which you and the objects belong together to the same space. This second point of view is a ‘global’ perception instead of a succession of images.

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COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»

1958

At the same time as I was completing the group “Planes in Surface Modulation” I made a surface-picture composed of three squares, the two outside ones touching space proper with three of their four sides. I noticed something very odd: these side squares seemed to be learning forwards, bending at an imaginary hinge. This fascinated me, since there was no diagonal at all in the composition to give this effect. I realized that it was space proper outside the picture, which, acting directly upon the flat surface, created this movement.

FIG 7 Lift up the surface picture and have a look at the plan. Letters A A1, B B1 mark the lines from which you will have felt the two outside squares tilting.

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COPYRIGHT ASSOCIAÇÃO CULTURAL «O MUNDO DE LYGIA CLARK»