"I have a bag over my head. Before that, I wore an assortment of masks. One had eyeholes decorated with what seem to be pan scourers, and a pocket sewn inside that was filled with cloves. It smelled like grandma’s potpourri. Another of these weird bits of headgear rattled as I moved my head.
Ranging from the carnivalesque to the vaguely sinister, these masks come towards the end of Lygia Clark’s retrospective at MoMA in New York. The Brazilian artist, who died in 1988, was a complex figure, and her life and art followed a convoluted trajectory. It took her from being a painter and leading figure in the Brazilian neo-concretist movement, an offshoot of European constructivism, to becoming a maker of abstract sculptures that were as much propositions as fixed objects. These wonderful plays between the organic and the geometric, between form and formlessness eventually led her away from art altogether, and towards what she came to regard as a kind of therapy, in which objects took the place of speech and gesture.”
- Adrian Searle for The Guardian (MORE)