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Edgar Negret, ‘Solar Temple’, 1985, Galería Duque Arango
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Edgar Negret

Solar Temple, 1985

Aluminium
27 3/5 × 27 3/5 × 27 3/5 in
70 × 70 × 70 cm
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Location
Medellin, New York
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Edgar Negret
Colombian, 1920–2012
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Edgar Negret believed that mechanical forms free of function acquired a magical quality; his 1957 series “Aparatos Mágicos” (“Magical Apparatuses”) comprised mechanical items that had no specific purpose, and would come to be the defining representation of his practice. He was also known for combining images of industrial structures with those observed from nature in his geometric abstract sculptures. Early in his career, he met Spanish sculptor Jorge de Oteiza, who was a major influence in his work. Negret began to work with metal, his most commonly used medium, while studying in New York’s Clay Club Center (today the Sculpture Center); in the same period he met Louise Nevelson and Ellsworth Kelly, who became major influences on his practice.

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Edgar Negret, ‘Solar Temple’, 1985, Galería Duque Arango
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Edgar Negret
Colombian, 1920–2012
Follow

Edgar Negret believed that mechanical forms free of function acquired a magical quality; his 1957 series “Aparatos Mágicos” (“Magical Apparatuses”) comprised mechanical items that had no specific purpose, and would come to be the defining representation of his practice. He was also known for combining images of industrial structures with those observed from nature in his geometric abstract sculptures. Early in his career, he met Spanish sculptor Jorge de Oteiza, who was a major influence in his work. Negret began to work with metal, his most commonly used medium, while studying in New York’s Clay Club Center (today the Sculpture Center); in the same period he met Louise Nevelson and Ellsworth Kelly, who became major influences on his practice.

Edgar Negret

Solar Temple, 1985

Aluminium
27 3/5 × 27 3/5 × 27 3/5 in
70 × 70 × 70 cm
Contact For Price
Location
Medellin, New York
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
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