|
Hélio Oiticica (July 26, 1937 – March 22, 1980) was a Brazilian visual artist, best known for his participation in the Neo-Concrete Movement, for his innovative use of color, and for what he later termed "environmental art", which included Parangolés and Penetrables, like the famous Tropicália. == Early work == Oiticica's early works, in the mid 1950s, were greatly influenced by European modern art movements, principally Concrete art and De Stijl. He was a member of Grupo Frente, founded by Ivan Serpa, under whom he had studied painting. His early paintings used a palette of strong, bright primary and secondary colours and geometric shapes influenced by artists such as Piet Mondrian, Paul Klee and Kazimir Malevich. Oiticica's painting quickly gave way to a much warmer and more subtle palette of oranges, yellows, reds and browns which he maintained, with some exceptions, for the rest of his life. In 1959, he became involved in the short-lived but influential Neo-Concrete Movement with the artists Amílcar de Castro, Lygia Clark, Lygia Pape, Franz Weissmann and poet Ferreira Gullar. The Neo-Concrete Movement rejected the objective nature of Concrete Art and sought to use phenomenology to create art that "expresses complex human realities."〔Gullar, Ferreira. “Neo-Concrete Manifesto.” ''History of Modern Latin American Art Course Reader.'' Spokane: Whitworth University, 2014.〕 Neo-Concretism focused creating an awareness within the spectator of his or her spatial relationship with the artwork. The artworks themselves became akin to living organism rather than static forms; they were made to interact with viewers.〔Brett, Guy. "Lygia Clark and Helio Oiticica." ''Latin American Artists of the Nineteenth Century.'' New York: The Museum of Modern Art, 1993. 101.〕 The group disbanded in 1961. Clark and Oiticica transitioned into Conceptual Art dealing with ideas of the human body and culture. Oiticica was specifically interested in what creates culture. During Oiticica’s Neo-Concrete period, Oiticica sought to “escape the constraints of painting while remaining in dialogue with it” by utilizing color in new ways.〔Amor, Monica. “From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964.” ''Grey Room'' 38 (Winter 2010): 20-37.〕 He painted monochromes entitled Invencoes (Inventions) in 1959. These small square wooden plaques (30 x 30 cm) were not made to represent light rather Oiticica sought to embody it.〔 Oiticica questioned traditional ideas of aesthetics and art practices by considering the spectator and ideas of real space in his work. Colour became a key subject of Oiticica's work and he experimented with paintings and hanging wooden sculptures with subtle (sometimes barely perceptible) differences in colour within or between the sections. The hanging sculptures gradually grew in scale and later works consisted on many hanging sections forming the overall work, as a spatial development of his first experiments with painting. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Hélio Oiticica」の詳細全文を読む スポンサード リンク
|