Arman Color Strokes, 1991 brings together his most renowned concepts: accumulation of readymade objects. The inspiration for these ‘accumulations’ can be traced to the Dada movement and its definition of the ready-made. These range from modest collections of household debris (Accumulation of Sliced Teapots, Walker Art Center, Minneapolis, 1964) to a huge tower (about 20 meters high) of 60 automobiles embedded in cement (Long-Term Parking, Cartier Museum, jouy-en-josas, 1982).

Such is the appropriate term to define this sculpture. Contained within the Plexiglas is a group of identical paintbrushes, each trailing strokes of green, blue, red and burgundy. It appears as if there is an invisible hand holding the paintbrushes, enabling them to create these strips of color. The paintbrushes are therefore suspended, as if stopped in motion. Even more exquisite is the texture of the paint strips. Looking closer, each strip of color is unique in their form and composition. Encased within the plexiglas is really the artist's hand. Rather than use paintbrushes for their intended purpose, Arman transforms the art objects into the artwork itself.

Of using found objects and "readymades", Arman has said "I have always been very much involved in the pseudo biological cycle of production, consumption and destruction. And for a long time, I have been anguished by the fact that one of its most conspicuous material results is the flooding of our world with junk and rejected odd objects.(Arman)." Ultimately, Arman's intention is not one of destruction but of reclamation.

Created in 1991, this acrylic sculpture has the incised signature of Arman (Nice, 1928 – New York, 2005). Numbered from the edition of 20.

CATALOGUE RAISONNÉ & COA:
Arman Color Strokes, 1991 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).

1.A Certificate of Authenticity will accompany this artwork.