JesĂşs Rafael Soto, born in Ciudad Bolivar, Venezuela, in 1923, was one of the leading exponents of Kinetic art. Having started out as an illusionistic painter, in 1955 Soto participated in Le mouvement (The Movement) at Galerie Denise RenĂ©, the exhibition that effectively launched Kinetic art. Around this time, and for many years subsequently, Soto’s art oscillated between geometric and organic forms.Â
By 1957 Soto had moved toward a more gestural abstraction, but by 1965 he had returned definitively to a geometric idiom. During the same decade, he began making linear, kinetic constructions using industrial and synthetic materials such as nylon, Perspex, steel, and industrial paint.
In 1967 he produced his first Penetrables, works composed of metal rods and nylon strands hanging in space. He invites the viewer to enter the work and walk around inside it, to apprehend the “matter-energy” of the world through “being” inside the work:
“The viewer becomes an integral part of the work. Heretofore, the viewer was in the position of an external observer of reality. Today, the notion that there is mankind on one side and the world on the other has been superseded. We are not observers but constituent parts of a reality that we know to be teeming with living forces, many of them invisible. We exist in the world like fish in water: not detached from matter-energy; INSIDE, not IN FRONT OF; no longer viewers, but participants.”
Soto was commissioned to make numerous monumental works for public spaces and buildings all over the world. In 1969 UNESCO commissioned Soto to create two murals for their buildings in Paris.Â
📷 1. Jesús Rafael Soto, Double progression en vert et blanc, 1969, Musée Middelheim Collection
2. Jesús Rafael Soto, Sphère bleue de Paris, 2000. Photo by Béatrice Hatala.
3. JesĂşs Rafael Soto, Les trois cubes bleus, 1962, Private Collection
4. JesĂşs Rafael Soto, Ambivalencia New York J, 1984, Museum of Modern Art Hokkaido Collection
5. Jesús Rafael Soto fine arts student, Caracas, 1945 © Archives Soto