OPENING 20/02/2022, 2PM - 6PM
From the early 1960s, Lars Fredrikson turned his practice to the booming trend of Kinetic art and Op art.
In the wake of Nicolas Schöffer's cybernetic structures, Fredrikson developed electromechanical works featuring a system that was set in motion by an electric motor hidden in a structure resembling a box or a thick chassis.
The artist mastered the almost clockwork functions of these sculptures in motion. Each houses its own complex system, built by Fredrikson himself.
Associated with the exploration of their multiple visual modulations and configurations, their almost hypnotic aspect is encouraged by their whiteness, and in the case of the light works by retinal stimulation inside an exhibition space plunged into darkness.
It was in this context that, from the late 1960s, Lars Fredrikson strated using stainless steel sheets for work that lies between engraving, painting, and sculpture, with the artist applying numerous interventions: scratches, lines, incisions, perforations, and hammering were executed on both sides of the sheets. He combined these gestures with traces of paint, sometimes completing them with mobiles made of plexiglas or metal or by curving their sirface.
Divided and fragmented, the viewer's body is never entirely reflected in these surfaces, despite the work being placed in such a way as to face them or even incorporate them. With these reliefs, Fredrikson was striking up a dialogue with the architectural space in which they stand, abolishing their limits; when subjected to vibrations (voices around them, tremors in the hanging surface), they echo and magnify their space-producing potential.