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  • Open a larger version of the following image in a popup: Gego, “Sem título (aquarela amarela)”, 1980

    Gego

    “Sem título (aquarela amarela)”, 1980
    aquarela sobre papel
    watercolour on paper
    56,5 x 75,5 cm
    22.24 x 29.72 in
    Enquire
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    In the 1980s, Gego’s work entered a phase of refinement, marked by more intimate gestures and by a gradual distancing from the large three-dimensional structures that had characterized her earlier...
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    In the 1980s, Gego’s work entered a phase of refinement, marked by more intimate gestures and by a gradual distancing from the large three-dimensional structures that had characterized her earlier production. During this period, she devoted herself to smaller formats, such as circular structures composed of linear meshes, wire, and metal thread, as well as drawings, watercolors, and small pieces made of paper or flexible materials.
     
    Works like Untitled (yellow watercolor) (1980) reveal how the artist transformed gesture and color into extensions of the structural thinking that shaped her entire practice: lines that seem to vibrate autonomously, creating an implicit sense of spatiality and suggesting networks, weavings, and three-dimensional constellations. In this way, her watercolors offer another path for investigating the behavior of the line in space—not through wire or physical mesh, but through the delicacy of water, pigment, and transparency. A work from this same series is currently part of the collection of the Museum of Modern Art - MoMA (USA).
     

    Nos anos 1980, a obra de Gego entrou em uma fase de depuração, marcada por gestos mais íntimos e por um afastamento gradual das grandes estruturas tridimensionais que haviam caracterizado sua produção anterior. Nesse período, ela passou a dedicar-se a formatos menores, como estruturas circulares compostas por malhas lineares, fios e arames, além de desenhos, aquarelas e pequenas peças feitas de papel ou materiais flexíveis.

     

    Obras como "Sem título (aquarela amarela)" (1980) revelam como a artista convertia gesto e cor em extensões do pensamento estrutural que atravessou toda a sua pesquisa: linhas que parecem vibrar de forma autônoma, criando uma espacialidade implícita e sugerindo redes, tramas e constelações tridimensionais. Assim, suas aquarelas representam outra via de investigação sobre o comportamento da linha no espaço. Não mais por meio do arame ou da malha física, mas pela delicadeza da água, do pigmento e da transparência. Trabalho dessa mesma série atualmente integra a coleção do Museum of Modern Art - MoMA (EUA).

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