The reason why I chose Soto’s work is that his works can only be appreciated when the spectators move. A single image would appear from the contrast presented, this new image would be printed in the spectator’s mind. Also, spectators could discover their visual sensitivity within the sphere’s inner elasticity and changeability, which become a medium in itself. Unlike normal paintings or sculptures that only engaged with static volumes, Soto’s installation could engage the “fourth dimension” of what he called “time – space”—that is, “a work in the process of physical change both requires a temporal period (time) and affects the physical sphere of its surroundings and viewers (space)”. The fluid geometric form of the sphere accentuates rhythms as well. What’s more, due to the inspiration of Arnold Schönberg’s non-hierarchical twelve-tone scale, Soto arranged the colors in series and combined them according to pre-established patterns. This is why his works have such strong dynamic and visual
The reason why I chose Soto’s work is that his works can only be appreciated when the spectators move. A single image would appear from the contrast presented, this new image would be printed in the spectator’s mind. Also, spectators could discover their visual sensitivity within the sphere’s inner elasticity and changeability, which become a medium in itself. Unlike normal paintings or sculptures that only engaged with static volumes, Soto’s installation could engage the “fourth dimension” of what he called “time – space”—that is, “a work in the process of physical change both requires a temporal period (time) and affects the physical sphere of its surroundings and viewers (space)”. The fluid geometric form of the sphere accentuates rhythms as well. What’s more, due to the inspiration of Arnold Schönberg’s non-hierarchical twelve-tone scale, Soto arranged the colors in series and combined them according to pre-established patterns. This is why his works have such strong dynamic and visual