The works that I create in urban spaces and buildings are part of a plastic discourse generated in time and space that creates situations and chromatic events which change the dialectic between the spectator and the work. Unlike medieval and renaissance artists and the Mexican muralists, my works do not contain referential discourses. They are the medium for an event that happens in the reality of time and space, changing according to the movement of the light and the distance between the work and the spectator. They are independent situations devoid of anecdotes in which the spectator discovers color as it comes into being and disappears, without past or future, in a perpetual present.
Cruz-Diez – Paris, 1996
Ambientación de Color Aditivo
Simón Bolívar International Airport, Maiquetía, Venezuela, 1974
Exhibition “Carlos Cruz-Diez : Un être flottant”, Palais d’Iéna, Galerie Mitterrand, Paris, France, 2016
The daily journey through urban spaces changes our personality and makes us into habitual beings who obey rules that nobody questions. The artist can create ephemeral expressions that, by generating completely new events, transform urban “linearity” and at the same time inject an element of surprise into urban routine. These ephemeral works are a way of producing different readings of urban spaces and of deconsecrating the utilitarian objects of urban furniture.
Carlos Cruz-Diez – L’Été Marseillais, France, 1989
Cromoestructura radial - Homenaje al Sol
Roundabout Las Trinitarias, Barquisimeto, Venezuela
Intervention on 3 crosswalks, festival “L’Art dans la rue", during “L’Été marseillais”, Place Général de Gaulle, Marseille, France, 1989
Ambientación Cromática - Mural de Color Aditivo / Sala de Máquinas 1 y 2
17 x 245 m
Engine Room n°1, Simón Bolívar Hydroelectric Plant, Guri, Venezuela
We live in a world where everyone constantly balances between gregariousness and intimacy. The idea is to create works that respond to these two situations, that refer from one to the other, that rest us from the collective when it is necessary (thus my individual pieces) and that cure us of isolation when we don't want it anymore (thus my chromatic paths and my chromointerferences that suggest architectural applications, in the free space of the street).
Cruz-Diez – Carlos Cruz-Diez et les trois étapes de la couleur moderne, Jean Clay, 1969
Physichromie Berrini One
São Paulo, 2012-2014
Berrini One Building, São Paulo, Brazil
3 x 58 m
Intervention on 4 crosswalks for the festival “El artista y la ciudad”, Boulevard of Sabana Grande, Caracas, Venezuela, 1975-1976