During the 1950s Soto established the theoretical and physical foundations of his oeuvre. His body of work is made up of objects that create optical vibrations through the movement of the spectator, which continuously modifies the perception of the work. In 1959 Soto began producing a series of works generically titled Vibraciones (Vibrations), in which he applied discarded materials and painted metal wires to irregular pictorial surfaces traced with parallel lines. Soto intended these so–called baroque works to engage with Informalism—a style that placed emphasis on formless texture and tactile touch—and New Realism—a movement that favored materials taken from everyday urban life. By producing opitcal vibrations against these textured supports, Soto created the illusion of their dematerialization.
Gallery label from New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions, November 21, 2007–February 25, 2008.
