"Here I am under the witness of my work being formulated, and now the witness is not the work but I-work-human person."
Lygia Clark


Lygia Clark: Fantastic Architecture installed at Perry Green

Brazilian artist Lygia Clark (1920-88) radically innovated the relationship between the art object and the audience. As a co-founder of the Neo-Concretist movement she worked with the theory that art should be both subjective and organic and that art should be shaped and manipulated by the spectator.

Her bichos (meaning animal or creature) series, from early 1960s springs from those Neo-Concretist principles and her investigation of "the plane" in art. Each bicho is formed of a series of shaped plates joined by hinges. Laid flat they form a plane but when manipulated by an audience member they take on changeable organic forms, the hinge recollecting an animals spine.

Fantastic Architecture is a large scale remodelling of a bicho which Clark originally made in 1963. The small handling model reimagined on an architectural scale - impossible in her own lifetime but finally realised in 2013. The huge hinged plates join together to echo the organic forms of the landscape surrounding the piece. In this form a spectator, rather than holding and manipulating the piece as with the bichos, can enter the work as an entire body.

Fantastic Architecture is on loan from Alison Jacques Gallery. The display coincides with an exhibition of Lygia Clarks work at the Henry Moore Institute in Leeds. Lygia Clark: Organic Planes runs from 24 September 2013 to 4 January 2015. 


Fantastic Architecture I

Stainless Steel
520 x 780 x 710 cm
Artwork courtesy The Estate of Lygia Clark and Alison Jacques Gallery, London.

Image copyright O Mundo deLygia Clark-Associação Cultural, Rio de Janeiro. Courtesy Alison Jacques Gallery, London.

Photography: Michael Brzezinski