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    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014
    Open a larger version of the following image in a popup: Francisco Sobrino, Transformation instable, 2014

    Francisco Sobrino

    Transformation instable, 2014
    Acier poli, miroir
    H 600 x 180 x 180 cm
    Photo: JC Lett
    Enquire
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    Plus d'images

    • (View a larger image of thumbnail 1 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 2 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 3 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 4 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 5 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 6 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 7 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 8 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    • (View a larger image of thumbnail 9 ) José León Cerrillo, Subtraction Screen (DdM), 2017
    Dès le début des années 1960, Sobrino utilise le Plexiglas transparent fumé ou coloré pour réaliser ses œuvres. La superposition et la juxtaposition de formes géométriques simples donnent naissance à...
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    Dès le début des années 1960, Sobrino utilise le Plexiglas transparent fumé ou coloré pour réaliser ses œuvres. La superposition et la juxtaposition de formes géométriques simples donnent naissance à des compositions complexes, faisant jouer espace et lumière avec le déplacement du spectateur. En 1963, l’artiste décide de réaliser des modules géométriques avec un matériau permettant une exposition en extérieur. Cette nouvelle série en acier poli miroir est intitulée Structures permutationnelles. Les surfaces réfléchissantes de l’œuvre lui permettent de s’intégrer complétement dans l’espace environnant.

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