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Sculpture by Sergio Camargo

by LiveModern Webmaster last modified Jan 06, 2016 01:01 AM
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by Tyler last modified Jan 05, 2016

The work of Sergio Camargo was featured at the Lisson Gallery this year. The Lisson Gallery is one of the most influential and longest-running international... The post Sculpture by Sergio Camargo appeared first on .




 

 

The work of Sergio Camargo was featured at the Lisson Gallery this year. The Lisson Gallery is one of the most influential and longest-running international contemporary art galleries in the world. Since being founded in 1967 by Nicholas Logsdail. I was instantly taken by these geometric stone sculptures. The curves and the straight lines have a certain organic flow, solid but formed by hands.

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“Camargo worked with master craftsmen in France and Italy to achieve his desired effects in marble, employing the contrasting shades of either the milky-white, un-veined Carrara or the pitch-black Belgian stone. Despite Camargo’s conceptual and geometric precision – progressing from idea to drawing, then from maquette to the final work – there are obvious organic qualities to the repeating, projecting forms, including undulating and serpentine wave-like curves, as well as the bodily lean encountered in a tall upright structure. Even the elegantly terraced, planar façades of the architectonic pieces suggest an inherent rhythm or an internal cadence to the marble works that belies their solid, polished exteriors.”

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“Artistically, Camargo has often been linked with either the Neo-Concrete constructivism or Op Art kineticism of Brazilian colleagues such as Lygia Clark, Mira Schendel and Hélio Oiticica (a trio he introduced to Signals Gallery in London, after he showed there himself in 1964), but he was never clearly aligned with any one movement. Consequently, Camargo stands apart from many of his contemporaries, although he found a kindred spirit and a frequent collaborator in the father figure of Brazilian modernist architecture, Oscar Niemeyer – for whose Foreign Ministry building in Brasília (1965-67) he produced a 25-metre long wall composed of jagged, angular protrusions. Camargo made connections beyond Brazil early on in his career, encountering the likes of Lucio Fontana, Constantin Brancusi, Hans Arp and Henri Laurens among others, while internationally his pared-down practice mirrored those of Sol LeWitt and Robert Ryman in America.”

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Sergio Camargo

http://www.lissongallery.com

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