Tecelar, 1953
In a career that spanned the second half of the twentieth century, Lygia Pape (1927-2004) followed the trends of the contemporary artworld - mostly working as a conceptual artist in video and installation.
But geo-abstraction was still trending in 1950, so she started out as a founding member of Grupo Frente - a Brazilian offshoot of what European artists called "Concretism". Like scientists, they investigated geometric shapes to pursue universal, timeless truths — rather than express themselves with the gestures of abstract expressionism - or evoke the social relevance of figurative art.
Most of the pieces in this show are woodblock prints. As the artist explained it - that technique was employed not to make multiples, but rather to use the interaction of wood grain, ink, and fine paper to experiment with the organization of space. The overall title given to these pieces, Tecelares (weavings) connects them to the folk art traditions of patterned fabric.
It’s not surprising that both the Art Institute of Chicago and New York’s MOMA have primarily been interested in showing this early work. Pape was a talented graphic designer. But early on, you can also sense the direction she was going . The piece from 1953 has so much tension and dynamics - while the piece from 1960 is approaching Minimalism. Only the grain of the wood sets it apart from the “Black Square" of Kasimir Malevich. Eventually, the authority of the artist’s philosophy will entirely replace the authority of the viewer’s eyes in the international artworld - as well Pape’s later installations.
Tecelar, 1960
Tteia I, B. (2002-2023)
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