François Morellet is recognised as one of the most important artists of twentieth-century geometric abstraction. His works are emotionally neutral. By employing constructivist, mathematical systems he plays with our visual expectations. Planes and lines are tilted, symmetry is disrupted and geometry is altered. The result is playful, challenging and beautiful and requires the observer to engage intellectually as well as aesthetically.
Morellet was, in the early 1960s, the founding member of Groupe de Recherche d’Art Visuel (GRAV), a group which believed that the notion of the sole artist was outdated and which focused on the direct participation of the public. He began using materials such as sticky tape and neon, which were, at the time, unconventional in the realm of fine art. These materials had not been “polluted” by traditional art and neon allowed “the light source itself, not its reflection, [to be] regarded as a plastic material” (François Morellet, ‘Les sources lumineuses directes dans l’art’, 1966).
Morellet has continued his practice for over half a century, expanding into the realm of public artworks and architectural commissions, and it is with great pleasure that we show this recent work.