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Plexiglass box and printed matter on different layers. Signed by the artist on the back. Break Dance (2024) by Alberto Biasi is a kinetic-optical artwork composed of printed matter on multiple layers within a plexiglass box, measuring 60 × 44 × 4 cm. The piece features a field of parallel black and white lines that subtly warp and shift, creating a sense of rhythmic motion reminiscent of dance. As the viewer moves, the layered construction produces moiré effects, making the lines appear to ripple and twist. Signed by the artist on the back and issued in an edition of 20 + X, the work exemplifies Biasi’s mastery in blending perceptual play with precise geometric design.
Break Dance, 2024
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60 x 44 X 4 cm
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Details
Artist
Styles
Plexiglass box and printed matter on different layers. Signed by the artist on the back. Break Dance (2024) by Alberto Biasi is a kinetic-optical artwork composed of printed matter on multiple layers within a plexiglass box, measuring 60 × 44 × 4 cm. The piece features a field of parallel black and white lines that subtly warp and shift, creating a sense of rhythmic motion reminiscent of dance. As the viewer moves, the layered construction produces moiré effects, making the lines appear to ripple and twist. Signed by the artist on the back and issued in an edition of 20 + X, the work exemplifies Biasi’s mastery in blending perceptual play with precise geometric design.
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What is kinetic art?
Kinetic art is an international movement that emerged in the 1920s and gained prominence in the 1960s, referring to art that involves both apparent and real motion. It encompasses any medium that includes movement, either relying on actual motion for its effect or being perceived as moving by the viewer. Early examples include canvas paintings designed to create optical illusions of movement. Today, kinetic art often refers to three-dimensional figures and sculptures, such as those operated by machines or those that move naturally. The movement covers a variety of styles and techniques that frequently overlap.
