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Lydia Okumura

ps1, 1981200 x 313 x 141cmSign in to view price
Details
MaterialGallery
acrylic paint, painted aluminum, and elasticMartins&Montero
Description
Human-crafted. AI-refined.

This contemporary artwork features a minimalist, geometric composition in shades of gray and white. The predominant shapes are a series of trapezoidal forms, arranged in a dynamic, asymmetrical manner that creates a sense of balance and tension. The clean lines and stark contrast between the light and dark tones evoke a sense of simplicity and precision, characteristic of the artist's signature style. This piece likely explores themes of spatial relationships, balance, and the interplay of positive and negative space, reflecting the artist's interest in exploring the fundamental elements of form and composition. ...

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Artist
Lydia Okumura
B.1948, Brazilian

Okumura had her first solo exhibition in 1968 and later was part of Equipe3 (1970-1979) along with artists Francisco Iñarra and Genilson Soares. She contributed in a fundamental way to the development of ephemeral site-specific installations and many of them are documented in MAC-USP, Museu de Arte Moderna de São Paulo, Pinacoteca do Estado de São Paulo, Hall Art Foundation - Germany, MetropolitanNY, MoMA (New York) and Guggenheim (Abu Dhabi). First impressions of Lydia Okumura’s individual work can easily be misleading. For almost 50 years, the Brazilian-born, New York based artist has been investigating the interstice between two and three-dimensional space through precise, site-specific installations. Mostly using acrylic paint, cotton string, painted aluminum sheets, charcoal and pencil, Okumura constructs abstract geometric compositions that project from the walls into three-dimensional space. Although her practice can be framed within the minimalist tradition, op art is also at play. Through modest interventions, Okumura enhances our awareness of our bodily presence in the exhibition space. ...

Lydia Okumura: Artworks
Different Dimensions of Reality II
Lydia Okumura
Different Dimensions of Reality II, 1971
150 x 200 x 150cm
The Multiple Dimensionality of Reality
Lydia Okumura
The Multiple Dimensionality of Reality, 1971
170 x 200 x 20cm
Untitled I, Installation at Pratt Institute Gallery, Brooklyn, NY 1980; SP 2017
Lydia Okumura
Untitled I, Installation at Pratt Institute Gallery, Brooklyn, NY 1980; SP 2017, 1980
230 x 440cm
The Appearence, NY 1976; SP 2017
Lydia Okumura
The Appearence, NY 1976; SP 2017, 1976
217 x 427 x 77cm
Diagram of Dimension C, Tokyo 1979; SP 2017
Lydia Okumura
Diagram of Dimension C, Tokyo 1979; SP 2017, 1979
260 x 290cm
Passageway VI
Lydia Okumura
Passageway VI, 1986
197 x 197cm
Double
Lydia Okumura
Double, 1984
100 x 150cm
Tribeca
Lydia Okumura
Tribeca, 1984
270 x 390cm
Untitled
Lydia Okumura
Untitled, 1971
35 x 48 x 65cm
untitled GSP
Lydia Okumura
untitled GSP, 1984
422 x 438cm
the appearance
Lydia Okumura
the appearance, 1975
150 x 150 x 150cm
ps1
Lydia Okumura
ps1, 1981
200 x 313 x 141cm
Installation II, Medellin Biennial, Colombia
Lydia Okumura
Installation II, Medellin Biennial, Colombia, 1981
180 x 260 x 146.5cm
Untitled I, Medellin Biennial, Colombia, 1981; SP 2017
Lydia Okumura
Untitled I, Medellin Biennial, Colombia, 1981; SP 2017, 1981
200 x 300 x 190cm
Phenomena VII
Lydia Okumura
Phenomena VII, 1985
70.5 x 100 x 0.3cm
Phenomenon V
Lydia Okumura
Phenomenon V, 1985
70.5 x 100 x 0.3cm
Methamorphosys II
Lydia Okumura
Methamorphosys II, 1981
70 x 100 x 0.3cm
Double
Lydia Okumura
Double, 1984
150 x 100cm
Untitled
Lydia Okumura
Untitled, 1980
155 x 233.7cm
Untitled
Lydia Okumura
Untitled, 1976
75.8 x 55.8cm
Martins&Montero
Gallery
Martins&Montero
Brussels, São Paulo

Founded in São Paulo in 2011, Galeria Jaqueline Martins is a space for research, documentation and presentation of contemporary artistic production. It proposes collaborative curatorial strategies that foster dialogue between different generations and different cultural perspectives. One of its guiding principles is the encouragement of research-oriented conceptualist practices characterized by critical, even subversive, approaches. Since its inauguration, the gallery has developed a special program around the investigation of artistic productions carried out during the Brazilian military period – more specifically from the 1970s and 1980s. It promotes a historical revision of processes grounded on strong intellectual resistance, audacity and commitment to art and which transformed the artistic practice in the country, but nonetheless were neglected throughout the last decades. By integrating research and practice that confront the contemporary scene by means of its exhibition program, the gallery encourages the revival of the debate that conceives of artistic actions as contact zones for the exercise of aesthetic, social and political change. In 2020 the gallery opened its second exhibition space, in Brussels, aiming to expand our presence in Europe and to develop a multidisciplinary program that will foster connections between our artists and Brazilian art practices in an international context. ...

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