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Cromovela No. 7, 1995, acrylic lacquer on PVC by Carlos Cruz-Diez

Carlos Cruz-Diez

Cromovela No. 7, 1995

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Cromovela No. 7 detail 1
Cromovela No. 7 detail 2
Cromovela No. 7 scale

Artwork Details

ArtistCarlos Cruz-Diez
TitleCromovela No. 7
Year of creation1995
Techniqueacrylic lacquer on PVC
Dimensions45 5/8 x 17 x 11 in.
Marks & InscriptionsSigned and titled on the base, "Cromovela No 7 / Cruz-Diez / Jun 1995"
Provenance

Fuentes Angarita Collection, acquired from the artist

Private Collection, United States, acquired from the above

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Cromovela No. 7 unframed

Carlos Cruz-Diez's Cromovela No. 7, signed and dated on the base "Cruz-Diez / Jun 1995," extends his lifelong color research into a freestanding, vertical, totem-like form rather than the flat panels of the Physichromies. Cruz-Diez was one of three founding figures, alongside Jesús Rafael Soto and Alejandro Otero, of the Venezuelan Kinetic Art movement, and the Cromovela series occupied him across more than two decades and multiple materials, from these PVC examples through a monumental public installation in Panama City in 2014 and a polychrome ceramic edition in 2018.


Executed in acrylic lacquer on PVC, the sculpture's banded color wraps continuously around a tapering column, so a viewer walking around it experiences a shifting sequence of hues rather than the single fixed image of a flat Physichromie. Here the palette moves from warm copper and rust near the base through cooler blues, teals, and violets toward the top, the twisting silhouette of the column echoing the way the bands seem to rotate as the eye travels upward.

Cromovela's public ambitions are visible in a large-scale 2014 installation, in enamel on steel, at Cinta Costera III in Panama City, and a further edition realized in polychrome ceramic in 2018. Cruz-Diez's work overall is held in the permanent collections of the Museum of Modern Art, Tate Modern, the Centre Pompidou, and the Museum of Fine Arts, Houston, and this early, hand-signed Cromovela offers a rare sculptural counterpart to that better-known body of work.

“When colour is put on an object, it's dead. When it's projected in space, it's alive, it's rich, it varies, it vibrates. ”
— Carlos Cruz-Diez

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