Screenprint in colours, on wove paper.
Signed in pencil.
Untitled (Blue Horizon Lines) by Jesús Rafael Soto, created in 1976, is a screenprint in colors that embodies the artist’s kinetic sensibility. The composition features a vivid blue upper section above a soft gray field, interrupted by a dense layering of horizontal lines in black, white, gray, and blue. These lines subtly shift in rhythm and thickness, creating a sensation of vibration and optical movement. Signed in pencil and numbered from an edition of 175, the work exemplifies Soto’s engagement with perception, space, and energy—hallmarks of his pioneering contributions to kinetic and optical art.
Jesús Rafael Soto (Venezuela, 1923–2005) was a pioneering figure in kinetic and op art. Renowned for his 'Penetrables' series, he created immersive installations that invited viewer interaction, blurring the lines between art and observer. Soto's work explored movement, perception, and the dematerialization of the art object, leaving a lasting impact on contemporary art.
Screen-printScreen printing is a technique where ink is transferred through a mesh onto a substrate, with areas blocked by a stencil to prevent ink from passing through. This method, also known as serigraphy or silkscreen printing, is commonly used to produce prints on posters, T-shirts, vinyl, stickers, wood, and other materials. The process is a type of stencil printing, allowing for vibrant, detailed designs on various surfaces.
Screenprint in colours, on wove paper.
Signed in pencil.
Untitled (Blue Horizon Lines) by Jesús Rafael Soto, created in 1976, is a screenprint in colors that embodies the artist’s kinetic sensibility. The composition features a vivid blue upper section above a soft gray field, interrupted by a dense layering of horizontal lines in black, white, gray, and blue. These lines subtly shift in rhythm and thickness, creating a sensation of vibration and optical movement. Signed in pencil and numbered from an edition of 175, the work exemplifies Soto’s engagement with perception, space, and energy—hallmarks of his pioneering contributions to kinetic and optical art.
Jesús Rafael Soto (Venezuela, 1923–2005) was a pioneering figure in kinetic and op art. Renowned for his 'Penetrables' series, he created immersive installations that invited viewer interaction, blurring the lines between art and observer. Soto's work explored movement, perception, and the dematerialization of the art object, leaving a lasting impact on contemporary art.
Art is not expression; art is knowledge.
- Rafael Jesus Soto
Celebrated for his contributions to both the Op Art movement and Kinetic Sculpture, Jesus Rafael Soto worked with a range of materials to create his trademark sculptural reliefs; his works study the interplay between colours as well as the dynamic between foreground and background, both of which often result in a final optical illusion effect, as exemplified in his acclaimed Vibration Blanc et Jaune work. Soto began his artistic career as a post-impressionist painter, but later discovered the methods and teachings of Piet Mondrian, from whom he gained much of his inspiration. Alongside his notable reliefs, Soto created a number of interactive sculptures that allowed direct audience participation – Penetrables is among his most successful works of this kind, of which the artist has remarked ‘’when you enter a penetrable, you have the sensation of being in a light swirl, a total plenitude of vibrations.’’ (Artist website)
ZERO was an art movement founded by Otto Piene and Heinz Mack, aiming to develop into a large international and cross-border movement. The name ZERO originated from a magazine founded by Heinz Mack in 1957, which became a platform for the group's ideas. The magazine was published for several years before ceasing in 1967. The ZERO movement sought to create a new beginning in art, emphasizing light, space, and movement, and became influential in post-war European art.