Sérgio de Camargo’s monochromatic reliefs explore the relationship between mass and void using simple geometric shapes such as cylinders and prisms to create intricate compositions. Similar to Enrio Castellani’s Superfici Bianca and Günther Uecker’s iconic nail reliefs, the intricate cut cylinder reliefs are the cornerstone of de Camargo’s artistic vocabulary creating ripples of light and shadow across the surface of the construction, vibrating and metamorphosizing constantly with the movement of both light and the viewer. As a result, a construct such as Relief No. 194 of 1968 is as much as anything a work of art that must be experienced in the spirit of Op artists such as Jesús Rafael Soto so that the viewer and his surroundings dictate the perception of a sculptural surface that appears to fade and dissolve. The dense, compacted matrix of the relief’s material surface suggests the earth, the organic, the vegetable, the crystalline. But as experienced, it provides the means of manifesting its opposite: the immaterial, light, air, and a mysterious unity.