Tony Delap, ‘Eusapia’, 1987, Mark Moore Fine Art
Tony Delap, ‘Eusapia’, 1987, Mark Moore Fine Art
Tony Delap, ‘Eusapia’, 1987, Mark Moore Fine Art

One of an edition of six examples.

Tony DeLap is a West Coast artist known for his abstract sculpture utilizing illusionist techniques and meticulous craftsmanship. As a pioneer of West Coast minimalism and Op Art, DeLap’s work is a testament to his willingness to continuously challenge the viewer’s perception of reality.

Signature: Signed, Inscribed


A legendary figure in Californian art, Tony DeLap (born 1927) was associated with Los Angeles’ 1960s Finish Fetish school (alongside the likes of Craig Kaufman and Larry Bell), and has been a mentor to some of California’s most notable artists, including Bruce Nauman, James Turrell and John McCracken, who all studied with him. Where many artists of the Finish Fetish school eschewed the material facture of their works, DeLap has almost always chosen to construct his work himself, meticulously producing freestanding sculptures in aluminum, fiberglass, lacquer, Plexiglas, resin and molded plastics and fabrics. He followed a path of Geometric abstraction and Minimal art embracing the principles of limited color, geometry, precise craftsmanship, and intellectual rigor. DeLap was included in the two shows that helped to define the Minimalist movement—Primary Structures at the Jewish Museum (1966) and American Sculpture of the Sixties at the Los Angeles County Museum of Art (1967)—and his work brilliantly merges the austerity of Minimalism with Op art illusionism.

Collection of the Artist; Private Collection, Los Angeles

About Tony Delap

Tony DeLap, a pioneer of West Coast Minimalism and Op Art, has spent more than half a century producing meticulously crafted, illusionistic abstract sculptures that challenge perception with their teasing, shifting shapes, form, and sense of depth. Associated with the L.A.-based Finish Fetish movement of the 1960s, DeLap has mentored such prominent artists as Bruce Nauman and James Turrell. Staying true to Minimalism decades after the height of its popularity, he defines the work of art as “a thing in itself.” Eschewing outside references, DeLap strips art to its essence: materials and form. These materials include wood, metal, and plastics, formed into geometric shapes and multipart structures filled with illusions of depth and formal relationships that are both playful and rigorous. DeLap’s work was included in “Primary Structures” (1966) and “American Sculpture of the Sixties” (1967), two exhibitions that helped to define Minimalism.

American, b. 1927, Oakland, California, based in Corona del Mar, California