This striking optical work toys with the viewer's perception, creating a subtle sense of motion through the use of staggered geometric forms. Evenly distributed vertical lines criss-cross with undulating horizontal lines. Vasarely fills in this grid-like formation accordingly to convey the impression of diamonds in varied sizes, all depicted in cool hues of light blue. In the lower right, he places a brown square over a portion of the composition; this square appears semi-transparent, altering the state of the geometric formations beneath it. When viewed for a few moments, the entire image appear appears as if slowly moving in and out, backwards and forwards. The viewer's eye cannot pinpoint a specific "still" location but rather jumps around the composition, making this both a lively and engaging work.

Discussing his thoughts on abstraction, Vasarely stated, "The celebrated transition from representational to nonrepresentational art is only one of the stages in profound transformation taking place in the plastic arts. The term 'abstract' in painting refers not to an established fact, but to an irresistible trend toward plastic creation different from the kind we already know." (Vasarely 1978, 13).
DOCUMENTED AND ILLUSTRATED IN:

1. A hand-signed Certificate of Authenticity from Michèle- Catherine Vasarely accompanies this piece, catalogue no. 1109 in the Vasarely archives.

ABOUT THE FRAMING:

Framed to archival museum grade conservation standards, this piece is framed in a contemporary black moulding with a silver fillet and blue silk wrapped liners. This work is set behind the amazing Optium Tru Vue Plexiglas, which provides full protection while appearing virtually invisible. The Library of Congress uses Optium Tru Vue Plexiglas to protect The Declaration of Independence. This Plexiglas typically costs 10 times more than regular Plexiglas, running at around $1,000 a piece.