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Chromointerférence,
1978
by Carlos Cruz-Diez
Sculpture : aluminium 12.6 x 12.6 x 1 inch
£14,964
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About the artwork
Unique work
Hand-signed by artist
Invoice from the gallery
Certificate of Authenticity from the gallery
Sculpture: aluminium
12.6 x 12.6 x 1 inch Height x Width x Depth
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Origin: Venezuela
Carlos Cruz-Diez
Chromointerference, 1978
Silkscreen on aluminum and stainless steel inserts
12 3/5 × 12 3/5 × 1 in
32 × 32 × 2.5 cm
Chromointerférence (Paris 1964)
The Chromointerférence came about one day in 1964 when, as Carlos Cruz-Diez was silk screening some Couleur Additive patterns, he overlaid a transparent plastic sheet bearing the same arrangement of lines. As he moved the transparent image over the Couleur Additive modules, he noticed the appearance of color interferences that changed as the pattern on the overlay glided over the one below. Where the patterns intersected, the conflicted reading thereby produced created ranges of colors that had no chemical counterpart in the support. At the same time, the displacement of the patterns generated waves of movement that flowed in the opposite direction. He called them “false prisms” because they reconstituted the entire spectrum of light on opaque material support.
Observed in this context, it should be noted that the chromatic variations in the Chromointerférence, depending on the nature of the support, can be additive or subtractive. They are additive when working with opaque supports (such as paper, cardboard, and so on), as in the case of Couleur Additive, which is inspired by the appearance of a virtual darker line where two color planes meet. They are subtractive in the Environnement Chromointerférent, in the Pyramide de Volume Chromointerférent, and in the Expérience Chromatique Aléatoire Interactive, which, having no physical support, owe their existence to subtractive color. This phenomenon is produced when rays of colored light — emitted by projectors or by pixels in a computer — intercept each other in space, causing them to change their hues.
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Chromointerference, 1978
Silkscreen on aluminum and stainless steel inserts
12 3/5 × 12 3/5 × 1 in
32 × 32 × 2.5 cm
Chromointerférence (Paris 1964)
The Chromointerférence came about one day in 1964 when, as Carlos Cruz-Diez was silk screening some Couleur Additive patterns, he overlaid a transparent plastic sheet bearing the same arrangement of lines. As he moved the transparent image over the Couleur Additive modules, he noticed the appearance of color interferences that changed as the pattern on the overlay glided over the one below. Where the patterns intersected, the conflicted reading thereby produced created ranges of colors that had no chemical counterpart in the support. At the same time, the displacement of the patterns generated waves of movement that flowed in the opposite direction. He called them “false prisms” because they reconstituted the entire spectrum of light on opaque material support.
Observed in this context, it should be noted that the chromatic variations in the Chromointerférence, depending on the nature of the support, can be additive or subtractive. They are additive when working with opaque supports (such as paper, cardboard, and so on), as in the case of Couleur Additive, which is inspired by the appearance of a virtual darker line where two color planes meet. They are subtractive in the Environnement Chromointerférent, in the Pyramide de Volume Chromointerférent, and in the Expérience Chromatique Aléatoire Interactive, which, having no physical support, owe their existence to subtractive color. This phenomenon is produced when rays of colored light — emitted by projectors or by pixels in a computer — intercept each other in space, causing them to change their hues.
About the seller
Professional art gallery • Venezuela
Artsper seller since 2021
Vetted Seller
Discover more by the artist
Works in prints from Carlos Cruz-Diez
Carlos Cruz-Diez (Caracas, Venezuela, 1923 - Paris, France, 2019) is one of the major figures of kinetic and optical art and has received numerous awards for his work. His practice positions him as a contemporary theorist of color. His visual research, based on three chromatic conditions -- subtractive color, additive color, and reflection -- has contributed to a new approach of the color phenomenon by expanding his perceptual universe.
Carlos Cruz-Diez based his practice on the color as an autonomous reality, without any anecdote, evolving in real-time and real space without any help from the form or the support. There are eight axes of research that reveal the different behaviors of color: Additive Color, Physichromie, Chromatic Induction, Chromointerference, Transchromia, Chromosaturation, Chromoscope, and Color in Space.
In 1940, Carlos Cruz Diez was studying at the Art School in Caracas. In 1944, he was working as a graphic designer for the "Creole Petroleum Corporation". In 1946, he became the Creative Director of the advertising agency "McCann-Erickson in Venezuela. In 1957, he founded the "Estudio Artes Visuales" dedicated to graphic and industrial design. In 1959, he completed his first work entitled “Additive Color and Physiochromia".
In 2005, his family created the "Cruz-Diez Foundation" dedicated to the conservation, development, dissemination, and research of the artist's conceptual heritage. Between 1972 and 1973, he taught "Kinetic Techniques" at the Beaux-Arts School in Paris. In 2012, he was appointed Officiel the National Order of the Legion of Honour.
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Carlos Cruz-Diez
Chromointerférence, 1978
Sculpture
£14,964
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