José Pedro Croft (1957) - Sin título

Engraving by José Pedro Croft (*).
Technique: Soft ground etching, drypoint, and electric percussion. The work was created with two plates made with technical collaboration from Tristán and Virgili Barbará.
Museum edition on thick laid cotton Arches paper, with its characteristic watermark.
Hand-signed and numbered by the artist.
Printer’s dry stamp.
Includes Certificate of Authenticity (COA).

Specifications:

Support dimensions: 56 x 76 cm
Impression dimensions: 56 x 76 cm
Edition: 91/100
Year: 2003
Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, thus offered in perfect condition).
Provenance: Private Collection.

The work will be carefully handled and packed in reinforced flat cardboard packaging. Shipping will be insured with a tracking number.

The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.

(*) José Pedro Croft (Porto, 1957) is one of the leading figures of European contemporary sculpture, thanks to his explorations of the relationships between space, time and matter.
His career, spanning both sculpture and drawing, has been marked from the start by a careful constructive process in which both his formal universe and the particular one come into contact. In Croft’s own words, “the interesting thing about my work is in the nuances and small differences, not in trying to fit it into a predetermined line.” Ultimately, it is an artistic project outside the itinerary fixed by schools and groups.
In relation to this conception, his creations are always the fruit of research into processes unfolding inside him, where the visual, plastic and poetic dimensions of the created objects intertwine, producing a sense of precarious balance between what is stable and what is unstable, which, for the Portuguese artist, “reflects the transience of the universe.”
His sculptures create complex dialogues with the surrounding environment as well as with their own form and volume through simple, almost minimalist structures, combining both the materiality of the object and its formal aspects. In some cases, these latter are reinforced by the use of vivid industrial paint, applied in such a way as to suggest a perception of the sculpture as relief painting. Moreover, Croft uses mirrors and crystals to play with light, shadow and reflections to create new volumes and an altered sense of space. A dialectical tension between fullness and emptiness finally appears, which can be translated to his works on paper.
In 2017 he represented Portugal with the installation Medida Incerta at the Venice Biennale.
The Portuguese artist’s work is part of international collections such as the Centre Pompidou in Paris, the Fundação Calouste Gulbenkian in Lisbon, or the Museo Reina Sofía in Madrid, and this year he is Portugal’s representative at the Venice Biennale.