Geometric Abstraction – Op Art Soto, Jesús Rafael Untitled (Lettre du Venezuela). 2001. Colour silkscreen print on Plexiglas and cardboard. 18 x 11.3 x 2 cm. Signed and numbered on the reverse. Mounted in places on a backing and framed under glass. – With a few isolated spots of soiling and scuffing, a few faint scratches, edges partly slightly bumped, very occasional subtle, barely visible adhesive residue. Overall, very good condition. An excellent, richly coloured print of the multi-layered composition with a spatial, dynamic visual effect. One of 280 copies. - Published by Editions Janninck L’art en écrit. - The optical complexity and movement characteristic of Soto’s work arise from the combination of transparent Plexiglas and coloured surfaces, which change depending on the viewer’s perspective. ‘Lettre du Venezuela’ is an example of Soto’s aim to actively involve the viewer in his work and to explore perception as a dynamic process. As early as his “Vibrations” series of the 1960s, Soto used simple materials such as wire, wood and Plexiglas to achieve a dematerialisation of art and a dissolution of fixed pictorial boundaries. The optical movement is evoked through interaction with the viewer, who ‘sets the work in motion’ through their own movement. The title refers to Soto’s origins and can be understood as a tribute to his homeland. Colour silkscreen print on Plexiglas and cardboard. Signed and numbered on the reverse. Mounted in places on backing board and framed under glass. – With a few isolated marks and scuffs, a few faint scratches, edges partly slightly bumped, very occasional subtle, barely visible adhesive residues. Overall in very good condition. An excellent, richly coloured print of the layered composition with a dynamic, three-dimensional visual effect. – The optical complexity and movement typical of Soto’s work are created by the combination of transparent Plexiglas and coloured surfaces that change with the viewer’s perspective. ‘Lettre du Venezuela’ is an example of Soto’s aim to actively involve the viewer in his work and to explore perception as a dynamic process. In his ‘Vibrations’ series of the 1960s, Soto was already using simple materials such as wire, wood and Plexiglas to achieve a dematerialisation of art and a dissolution of fixed pictorial boundaries. The optical movement is evoked through interaction with the viewer, who “sets the work in motion” through their own movement. The title refers to Soto’s origins and can be understood as a tribute to his home country.