Estela Sokol

    Attributes

    • Female
    • Installation

    Contact

    Galleries

    About the artist

    Lives and works in Sao Paulo
    1979: Born in Sao Paulo, Brazil

    Part of a generation of up-and-coming artists working in São Paulo today, Estela Sokol works on the expansion of the traditional idea of the work of art as the container of colour and form – in Sokol’s work, the environment around the work of art is also charged with colour and energy, through the artist’s use of materials and manipulation of scale.

    According to the artist, ‘problems appear and are solved in the very act of making things’. There is no inspiration from any mysterious source, there is no creative force detached from the direct manipulation of materials, colour and light. The idea is, therefore, not simply attached to the work but is born out of it, it buds from the construction of form.

    Aesthetically, Estela Sokol belongs to a tradition of constructivism that flourished in Brazil at the end of 1950’s, in the ‘Objetos Ativos’ (active objects) and ‘Pluriobjetos’ (pluriobjects) by Willys de Castro, in the ‘Superfícies Moduladas’ (modulated surfaces) by Lygia Clark and in the research into colour pursued by Hélio Oiticica in his ‘Invenções’ (inventions), ‘Relevos Espaciais’ (spacial reliefs), ‘Bilaterais’ (bilaterals) and ‘Núcleos’ (nuclei).

    Coloured, semi-translucent plastics in fluoridated colours innovate the palette of Brazilian constructivism, enveloping small stretchers and overlaying fields of fluctuating colour, reminding us of the interplay between frame and surface in the work of Lygia Clark.


    Sokol’s series A cor é que tem cor nas asas da borboleta (It is colour that has colour on the wings of the butterfly), is made of such objects, often no larger than15 centimetres in their largest dimension; these might even be confused with studies for larger pieces. They are, however, normally bundled in a flock covering a large wall alongside small engravings, numerous variations in the use of acrylic and plastic pieces coated with a layer of black automotive rubber, removing the possibility of shine and allowing for further research into the interaction between the colour-pigment and the colour-light.

    The reduced dimensions of these objects, additionally suggest a notion of ‘lesser art’, of handicraft, whilst the repetition of the objects, that differ from each other in minute details, combined with the use of materials such as plastic, acrylic, synthetic varnish and automotive rubber coating reminds us of industrial processes. The synthesis of industrialisation, handicraft and visual arts clamours for a reading linked to Bauhaus. These objects invoke famous images of constructive art, and the way in which they are installed creates a simulation of the artist’s own studio in São Paulo, an experimental laboratory in light-colour lined with pieces that leave traces of colour on the white walls.

    Source: Gallery 32 – Estela Sokol

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