While some of the artists in de Castro’s circle created artworks that invited physical manipulation, he was able to highlight the individual subjectivity of each viewer by transferring a form of authorship without requiring alteration of the work itself.ĭe Castro’s desire to push the boundaries of painting can be traced back to his early gouaches and concrete poems of the 1950s. In order to fully grasp his system of mirroring and counterbalance, one must move back and forth before the object, bridging together mental images of its distinct facets. His experiments with figure-ground relationships as well as positive and negative space enacted dialogues of rhythm and color across adjacent and opposing surfaces. By reorienting the frontal axis along the object’s narrowest edge, de Castro introduced a sculptural dimensionality to these works, which complicated their apprehension from any single vantage point.
His decision to hang these structures perpendicular to the wall had groundbreaking implications, most notably in blurring their status as paintings.
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His achievements, modest in scale, but great in significance, summarize and embody with exquisite exactitude one of the key questions of twentieth century art: how to create simple forms with complex consequences.”ĭe Castro’s Active objects consist of geometric compositions most commonly painted on canvas-covered strips of wood. The curator Gabriel Pérez-Barreiro has noted, “Few artists have explored the delicate relationship between form and perception in greater depth than Willys de Castro. For these artists, a complete reading of an artwork transcended its fixed visual properties, encouraging instead a means of perception meant for the entire body. Luhring Augustine is pleased to announce an exhibition of works by the Brazilian artist Willys de Castro (1926 – 1988), featuring a selection of early gouaches and concrete poems, as well as Objetos ativos (Active objects), the works for which he is best known.Ī founding member of the Neoconcrete movement, de Castro worked alongside contemporaries such as Lygia Clark, Hélio Oiticica, and Lygia Pape in formulating an approach to geometric abstraction centered on the phenomenological experience of the viewer.
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