Arp to Warhol

19 November 2016

showing item 8 of 15

Hugo Demarco, 1932-1995

Relief à Reflexion Perpétuelle. c.1950.

Circa 1950

An outstanding example of the earliest use of moving elements in a wall-hung ‘light sculpture’.

Motorised kinetic multiple with chrome discs and Perspex box. c.1950. Signed in ink and numbered 18 from the edition of 50 on the label on the reverse. Commissioned and issued by Galerie Denise René, Paris and with their original label. Full working order.

Excellent original condition.  300 x 300 x 110 mm.

For a short on-line demonstration of the light reflections in movement please Contact the William Weston Gallery for a link

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Hugo Demarco was one of the leading and most ground-breaking artists amongst the Argentinian proto-kinetic group – artists such as Jesus-Rafael Soto, Carlos Cruz-Diez, and Julio Le Parc - who were all interested in the way that light or associations of form and colour could be used to create ‘spatial sculptures’, images in which the elements appeared to be placed or to move through different visual planes.

With others from the group Demarco moved to Paris in 1950. There he and his friends found their ideas supported and promoted by the Galerie Denise René, who were already working with the European leader of such compositional ideas Victor Vasarely.

One of the exceptional elements in Demarco’s inspiration was his focus on using mechanical motorisation to make the elements not only interact in a static form but also in actual movement. This allowed him to create an infinite constantly changing link between the elements. This is extremely effectively used in ‘Relief à Reflexion Perpétuelle’, here. An electric motor drives a system of bands to make the reflective discs move in a random relationship to each other. An external light, such as a spotlight, is shone onto the surface. The light is reflected off the moving discs to create a changing light pattern on the floor or ceiling. 

This work dates from c.1950, the very earliest moment in such ideas. It is exceptionally rare to find such works still in fully functioning order.

Demarco worked closely with Denise René for a period, but lack of public appreciation made him abandon his art and he gradually faded from the art scene. ‘Reflexion Perpétuelle’ underlines just how inspired an artist he was and the tragedy of him abandoning his career.

 
 
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