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Bernard Venet is well known for his amorphous installations made by piling up loose gravel, coal, or asphalt and “industrial paintings” from cardboard reliefs or tar. In the middle of the 1970ies, he made the line the central subject of his work.
“My sculpture is based on concepts that appear to be divergent […]: order and disorder, the determinate and indeterminate.” — Bernar Venet
This etching shows the particular importance of the line for the artist. The line is not simply a line, in fact, it seems to move, and it looks like a three-dimensional, unstable figure. It essentially forces the viewer to follow its course in search of the beginning and the end.