The exhibition “Victor Vasarely. The Birth of Op Art,” curated by Márton Orosz, is being displayed at the Thyssen-Bornemisza National Museum until September 9. This exhibition shows Vasarely’s work, the pioneer of Op art or Kinetic art, an artistic trend that is still alive today. What this artist brings forward is his perspective, the ability of art to differentiate vision from perception. Through optical illusions displayed over bidimensional surfaces, he manages to achieve the effect of movement that allows us to perceive tridimensional forms in it, tricking the human eye in the process.
The Spectator. The True Creator of the Work of Art.
“The end of personal art for a sophisticated elite is near, we are heading straight towards a global civilization, governed by Sciences and Techniques. We must integrate visual sensibility into a correct world,” said Victor Vasarely, to which he added: “The art of tomorrow will be a collective treasure, or it will not be art at all.”
Vasarely wants the spectator to be the true creator of the work of art. To that end he makes it so the observer has to move, forwards and backwards, without taking his eyes away from the painting… “Wait a second, this is moving!” This way Vasarely manages to breathe life into his work. With it, Vasarely seduces our eyes, attracting our perception to achieve an effect: concave and convex curves that expand and contract; lines whose angles are constantly changing; circles that turn into ovals; and squares that extend themselves into rhombuses. I recognize the harmonic rhythms and beautiful movements of his paintings; they remind me of the perfect geometry found in nature.
This week we’ll visit the Vasarely exhibition; we’ll play with his worlds of optical illusion; moving forwards or backwards with our eyes, we’ll feel that the surface is moving. It’ll be like traveling into another dimension of time and space.
In this week’s workshop, we’ll recreate this world of perceptive deceit trying to bestow movement into a bidimensional surface. We’ll inspire ourselves with the geometry of nature, like the formation of stars and galaxies, creating paper templates of different colors made out of geometric cuts that we’ll overlap over one another. This way we’ll make a tridimensional abstract landscape: Will we be able to better understand Vasarely’s search?