Jesús Rafael Soto was a Venezuelan artist known for his op and kinetic art sculptures and paintings. He used optical illusions to give the impression of movement in his abstract black and white works. Soto's pieces can be found in major museum collections worldwide and he helped shift public art experiences outside of museums with large-scale outdoor installations and sculptures that directly interacted with viewers physically and intellectually.
Jesús Rafael Soto was a Venezuelan artist known for his op and kinetic art sculptures and paintings. He used optical illusions to give the impression of movement in his abstract black and white works. Soto's pieces can be found in major museum collections worldwide and he helped shift public art experiences outside of museums with large-scale outdoor installations and sculptures that directly interacted with viewers physically and intellectually.
Jesús Rafael Soto was a Venezuelan artist known for his op and kinetic art sculptures and paintings. He used optical illusions to give the impression of movement in his abstract black and white works. Soto's pieces can be found in major museum collections worldwide and he helped shift public art experiences outside of museums with large-scale outdoor installations and sculptures that directly interacted with viewers physically and intellectually.
JESÚS RAFAEL SOTO WHAT IS OP ART OP ART, SHORT FOR OPTICAL ART, IS A STYLE OF VISUAL ART THAT USES OPTICAL ILLUSIONS.
OP ARTWORKS ARE ABSTRACT, WITH MANY
BETTER-KNOWN PIECES CREATED IN BLACK AND WHITE. TYPICALLY, THEY GIVE THE VIEWER THE IMPRESSION OF MOVEMENT, HIDDEN IMAGES, FLASHING AND VIBRATING PATTERNS, OR SWELLING OR WARPING.
JESÚS RAFAEL SOTO
WAS A VENEZUELAN OP AND KINETIC ARTIST, A SCULPTOR AND A PAINTER. HIS WORKS CAN BE FOUND IN THE COLLECTIONS OF THE MAIN MUSEUMS OF THE WORLD, INCLUDING TATE, MUSEUM LUDWIG, CENTRE GEORGES POMPIDOU, GALLERIA NAZIONALE D’ARTE MODERNA AND MOMA ESFERA THEOSPACIO AS THE WORLD INCHED TOWARDS THE 21ST CENTURY, THE PUBLIC’S USE AND EXPERIENCE OF ART HAD BEEN TRANSPORTED OUTSIDE. OPEN AIR SCULPTURES AND INSTALLATIONS WERE NO LONGER UNUSUAL, AND EVERYDAY THERE WERE FEWER AND FEWER PEOPLE WHO BELIEVED THAT ART—IN THE TRUE SENSE OF THE WORD—ONLY BELONGED IN MUSEUMS. MAJOR CITIES EVERYWHERE WERE REAPING THE RESULTS OF THEIR INVESTMENTS IN THE ARTS BY SHOWCASING LARGE-SCALE WORKS IN PARKS AND POPULAR OUTDOOR VENUES. CUBO Y ESFERA VIRTUAL VIRTIUAL CUBE AND SPHERE EMERGED FROM SOTO’S LIFELONG MISSION OF CREATING ART THAT DIRECTLY INTERACTS WITH PEOPLE IN BOTH PHYSICAL AND INTELLECTUAL WAYS. LIKE SOTO’S PUBLIC WORKS, THE PIECE WHICH COMPRISES THE PRESENT LOT HAS THE ABILITY TO CONTINUOUSLY REVOLUTIONIZE ITS SETTING. IT RADIATES ITS DENSITY OUTWARDS, FILLING ANY SPACE WITH GRAPHIC POTENTIAL AND ALLURING VIGOR. THE SLIGHTEST CHANGE IN VIEWING ANGLE OR LIGHTING SEEMS TO ALTER THE WORK’S SHAPE, CASTING STRIKING SHADOWS AND OPTICAL PATTERNS ON ANY NEARBY SURFACE. IN DOING SO, IT MANAGES TO SUBVERT PRECONCEIVED IDEAS OF CONTEXT AND ELIMINATE THE OPTION OF EMPTINESS. REGARDLESS OF WHERE THEY ARE LOCATED, SOTO’S WORKS RELY ON HUMAN INTERACTION AND THOUGHT TO ACHIEVE THEIR FULL, TRANSFORMATIVE POTENTIAL. SPIRALES (SOTOMAGIE) EDITION DENISE RENÉ