Join curators Geaninne Gutiérrez-Guimarães and Pablo León de la Barra as they talk about the immersive environment in the High Gallery created through this presentation of Gego’s works.

Transcript
Pablo León de la Barra: In Gego’s work, you go inside the work. So, the spectator is not looking at a drawing on the wall, but he’s entering the drawing. And the drawing is becoming space.

Geaninne Gutiérrez-Guimarães: She started to create her three-dimensional work in the 1960s, past geometric abstraction and really kind of past kinetic art, which are two very important movements that are happening in Venezuela at the moment. She starts to create these very airy, very kind of linear, geometric, transparent sculptures that are based on a triangle or based on a square.

Pablo León de la Barra: It’s this movement from drawing in papers, to drawing becoming sculpture, to sculpture becoming space, a line becoming space.

Geaninne Gutiérrez-Guimarães: When she creates her magnum opus, which is the Reticulárea, she imagines a space at the Museo de Bellas Artes in 1969, and she completely occupies the space. And the viewer, the spectator, is able to go through that and be really immersed in that experience.

Pablo León de la Barra: It’s very immersed in the spirit of the time, a moment when many artist, especially in Latin America, were questioning the nature of the artwork—going past the two-dimensionality and three-dimensionality of painting and drawing and sculpture towards works that were immersive. It’s a work that challenges the idea that there is only one center and one point of view.

Geaninne Gutiérrez-Guimarães: You also become part of the work as you are not only interacting with the work but you’re activating the work.

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