Opus n.134

Sergio Camargo's body of work responds to a reduced yet complex sculptural language of form and volume. He was very inclined towards the formal thinking that developed in the sixties, based on the associated notions of non-composition (the all-over), the monochrome, seriality, repetition, and the random. It was under this light that cone can see Camargo's White reliefs of the sixties alongside other examples of the huge body of work inspired by these concepts, ranging from the kinetics of Jesús Soto to the conceptualism of Sol Lewitt. However, Camargo's work shines due to the subtle differentiation between the planar and the volumetric. His constructions allow for a peculiar use of light as an element articulating the relief and giving the work an organic quality.