Luis Tomasello
Chromoplastique 1025, 2013
White wall relief sculpture in wood with plastic elements, with orange paint on the reverse
Signed in black marker on the label verso, also with the publisher details
Overall: 40 x 40 x 4.5 cm; 15 3/4 x 15 3/4 x 1 3/4 in
Numbered from the edition of 40. Published by MAK Editions, Ghent.
$ 4,750.00
Further images
Luis Tomasello's 'Chromoplastique 1025' is a remarkable work that exemplifies his innovative approach to kinetic and optical art. This piece, like much of his chromoplastic series, features carefully arranged geometric...
Luis Tomasello's 'Chromoplastique 1025' is a remarkable work that exemplifies his innovative approach to kinetic and optical art. This piece, like much of his chromoplastic series, features carefully arranged geometric forms that protrude from a white background. These forms are angled in a way that allows light to interact with the surface, casting subtle shadows and creating an intricate play of light and colour. As the viewer moves around the artwork, the perception of the forms and the shadows continuously shifts, producing a dynamic visual experience.
In 'Chromoplastique 1025', Tomasello explores the relationship between light, colour, and spatial perception, making the invisible visible through the interplay of light and geometry. His ability to animate static forms through optical illusion is a testament to his pioneering role in the kinetic art movement. This work is emblematic of his mastery in creating a sense of movement and depth without using actual motion, embodying the principles that made him a key figure in the Parisian kinetic art scene.
In 'Chromoplastique 1025', Tomasello explores the relationship between light, colour, and spatial perception, making the invisible visible through the interplay of light and geometry. His ability to animate static forms through optical illusion is a testament to his pioneering role in the kinetic art movement. This work is emblematic of his mastery in creating a sense of movement and depth without using actual motion, embodying the principles that made him a key figure in the Parisian kinetic art scene.