Concrete Manifesto: In the manifesto it was stated that ‘The painting should be constructed entirely from purely plastic elements, that is to say planes and colours.
Hand Dialogue, from 1966, is an elastic band in the form of a Möbius strip that two people use to connect their hands in a tactile dialogue.
Clark produced many devices to dissolve the visual sense into an awareness of the body.
The Máscara Sensorial (Sensorial Hoods), 1967, incorporate eyepieces, ear coverings and a small nose bag, fusing optical, aural and olfactory sensations.
A number of helmets hold small movable mirrors in front of the eyes: one can either look out into the world or back into oneself, or any fractured combination of both.
She was also known for being a part of the Brazilian Constructivist Movement and the Tropicalia Movement.
Lygia also was a co-founder of the Neo-Concretist art movement with Helio Oiticica, Ivan Serpa, and Lygia Pape. I invented a book called the ‘Book of Creation,’ which recounts the creation of the world without words. This sense of invention, of creation, was what truly characterized the movement.
We charged because you have to keep her work, “says Alvaro Clark-son.
In 1947 she moved to Rio de Janeiro to study with landscape architect Roberto Burle Marx and Zelia Salgado Ferreira .- Her first teacher being an architect is significant, as architecture once realised is a fully embodied interactive work.
Background and biography, Born on October 23, 1920 in Belo Horizonte, Minas Gerais Brazil, Lygia Pimienta Lins (married Alvaro Clark).
“My mother was born rich, married rich man and the separation, received 86 apartments, she was selling one by one, to do her work. guava often do not eat cheese because she had no money for the fair.
Also that form can have a functionality that is aesthetic rather than practical.