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CARLOS CRUZ-DIEZ

BI-DIMENSIONAL

Within the purpose of creating his own artistic speech, Cruz-Diez drifted apart from the traditional techniques he learnt at the School of Fine Arts in Caracas. Instead of using the “hand of the artist,” the different impression techniques, from serigraphy to contemporary digital technologies, were his main allies on the quest to new ways of approaching color.

In that path of thought and research, the bi-dimensional artwork was a fundamental tool to Cruz-Diez for understanding the behavior of color and structure within his own speech.

“My bi-dimensional work is the development and the evidence of color leaving the traditional static plane and going into the dynamic and mutating space just as color truly manifests itself”

- Carlos Cruz-Diez - 

Text Right / Image Left

Color Aditivo Panam 8, 2010 (Detail)

Couleur Additive (Color Aditivo), 1959 

This work is based on the irradiation of color; that is, on the demonstrable fact that when two color planes come into contact with each other, a darker virtual line appears in the contact zone. By isolating that contact zone, Cruz-Diez generates his Modules d’événnement chromatique (Chromatic Event Modules) that contribute to the appearance of new shades of color that are not on the plane and can vary according to the source of light and the distance and movement of the viewer.

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Slideshow Thumbnails

Color Aditivo Panam 8, 2010 
Cromography on aluminium
60h x 80w cm
23 79/127h x 31 63/127w in
Edition of 8
55,000 USD

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Color Aditivo Yuruani, 2017 
Chromography on aluminium
80h x 240w cm
31 63/127h x 94 62/127w in
Edition of 8
126,000 USD

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Color Aditivo Panam Círculos 7, 2010
Cromography on aluminium
60h x 80w cm
23 79/127h x 31 63/127w in
Edition of 8
55,000 USD

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Color Aditivo Serie Darién, 2010 
Chromography on aluminium
100h x 100w cm
39 47/127h x 39 47/127w in
Edition of 3
160,000 USD

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Color Aditivo Serie Darién A, 2010 
Chromography on aluminium 
100h x 100w cm
39 47/127h x 39 47/127w in 
Edition of 3
160,000 USD

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Color Aditivo Betzaida B2, 2016 
Chromography on aluminium
60h x 60w x 2.50d cm
23 79/127h x 23 79/127w x 125/127d in ​
Edition of 8
50,000 USD

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Color Aditivo Panam 8, 2010 
Cromography on aluminium
60h x 80w cm
23 79/127h x 31 63/127w in
Edition of 8
55,000 USD

Color Aditivo Yuruani, 2017 
Chromography on aluminium
80h x 240w cm
31 63/127h x 94 62/127w in
Edition of 8
126,000 USD

Color Aditivo Panam Círculos 7, 2010
Cromography on aluminium
60h x 80w cm
23 79/127h x 31 63/127w in
Edition of 8
55,000 USD

Color Aditivo Serie Darién, 2010 
Chromography on aluminium
100h x 100w cm
39 47/127h x 39 47/127w in
Edition of 3
160,000 USD

Color Aditivo Serie Darién A, 2010 
Chromography on aluminium 
100h x 100w cm
39 47/127h x 39 47/127w in 
Edition of 3
160,000 USD

Color Aditivo Betzaida B2, 2016 
Chromography on aluminium
60h x 60w x 2.50d cm
23 79/127h x 23 79/127w x 125/127d in ​
Edition of 8
50,000 USD

"I use colors based on their effectiveness; I choose colors that conflict with one another producing a more powerful and noticeable effect of changing colors."

- Carlos Cruz-Diez -

Cruz-Diez developed two essential studies on his flat pieces: The Additive Color and the Chromatic Induction. In both, he manages to produce colors that are not in the core and that are constantly appearing and disappearing according the interaction of the viewer, the distance, the angle in which it is stared and the intensity of the lighting. 

Text / Image

Inducción Cromática Jor-Mar 35 B, 2013 (Detail)

Induction Chromatique (Inducción Cromática), 1963

These works are closely related to the phenomenon of post-image, which is also known as the retinal persistence effect. A complementary or induced color appears when we stare at a color plane, red for example, for a few seconds and then look away. At that point we see a green plane, which is an induced color, in this case the complementary version of red. This phenomenon consists of two stages that occur separately, one after the other. But Inductions Chromatiques capture and reproduce both of them at the same time. Cruz-Diez explains that he noticed the induced color effect when he was superimposing several color patterns placed at different angles. When he printed a blue pattern and a black pattern on a white background, a pale yellow also appeared. He had managed to capture, all at once, the phenomenon that, in Newton’s experiment, could only be observed in two sequential stages.

 

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Inducción Cromática Elizabeth, 2017
Chromography on aluminium
150h x 300w cm
59 7/127h x 118 14/127w in
Edition of 3 
400,000 USD

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Inducción Cromática a Doble Frecuencia Panam 12, 2011
Chromography on aluminium
100h x 100w cm
39 47/127h x 39 47/127w in
Edition of 8
110,000 USD

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Inducción Cromática Jor-Mar 35 B, 2013 
Chromography on aluminium
80h x 240w cm
31 63/127h x 94 62/127w in
Edition of 8
126,000 USD

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Inducción del Amarillo ABC 2, 2015
Cromography on aluminium
70h x 70w cm
27 71/127h x 27 71/127w in
Edition of 8
60,000 USD

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Inducción del Amarillo ABC 3, 2015 
Cromography on aluminium
70h x 70w cm
27 71/127h x 27 71/127w in
Edition of 8
60,000 USD

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Induction du Jaune Panam A, 2010 
Chromography on aluminium
60h x 60w cm
23 79/127h x 23 79/127w in
Edition of 8
50,000 USD

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Inducción Cromática Elizabeth, 2017
Chromography on aluminium
150h x 300w cm
59 7/127h x 118 14/127w in
Edition of 3 
400,000 USD

Inducción Cromática a Doble Frecuencia Panam 12, 2011
Chromography on aluminium
100h x 100w cm
39 47/127h x 39 47/127w in
Edition of 8
110,000 USD

Inducción Cromática Jor-Mar 35 B, 2013 
Chromography on aluminium
80h x 240w cm
31 63/127h x 94 62/127w in
Edition of 8
126,000 USD

Inducción del Amarillo ABC 2, 2015
Cromography on aluminium
70h x 70w cm
27 71/127h x 27 71/127w in
Edition of 8
60,000 USD

Inducción del Amarillo ABC 3, 2015 
Cromography on aluminium
70h x 70w cm
27 71/127h x 27 71/127w in
Edition of 8
60,000 USD

Induction du Jaune Panam A, 2010 
Chromography on aluminium
60h x 60w cm
23 79/127h x 23 79/127w in
Edition of 8
50,000 USD

“The bi-dimensional work has allowed to me to research, try out and develop the concepts that have structured my chromatic speech." 

- Carlos Cruz-Diez - 

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PRINTS

Content 3

Serie Semana - Miércoles, 2013
Litograph on paper
60h x 60w cm
23 79/127h x 23 79/127w in 
Edition of 75

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Caura-1, 2015
Litograph on paper
60h x 70w cm
23 79/127h x 27 71/127w in 
Edition of 75

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Color Aditivo Cantarrana 2, 2016 
Litograph on paper
70h x 100w cm
27 71/127h x 39 47/127w in
Edition of 40

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Induction du Jaune Tepuy 2, 2018
Litograph on paper
60h x 60w cm
23 79/127h x 23 79/127w in 
Edition of 40

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Induction du Jaune Tepuy 1, 2018
Litograph on paper
60h x 60w cm
23 79/127h x 23 79/127w in 
Edition of 40

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Induction du Jaune, 2010 
Etching on Hahnemühle paper
60h x 60w cm
23 79/127h x 23 79/127w in
Edition of 40

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