José Pedro Croft (1957) - Sin título

Engraving by José Pedro Croft (*)
This work belongs to the series of cubic structures developed by the artist between 2001 and 2006.
Technique: Color etching and aquatint with drypoint
Support: High‑gsm cotton velin paper.
This print was made at the prestigious Tristan Barbará printmaking studio in Barcelona and formed part of the notable paper-based production from that period, which was subsequently presented in Croft’s institutional exhibitions.
Hand-signed by the artist in the lower right corner
The edition of this work was limited to only 25 copies. This print is marked with the notation 22/25 and was acquired directly at the studio.
Includes Certificate of Authenticity (COA).

Specifications:

Support dimensions: 44 x 32 cm
Year: circa 2001
Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, and is offered in perfect condition).
Provenance: Private Collection - Barbará Studio

The work will be carefully handled and packed in a reinforced flat cardboard package. 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 most prominent figures of European contemporary sculpture, thanks to his investigations into the relationships between space, time, and matter. His career, established in both sculpture and drawing, has been marked from the outset by a meticulous constructive process in which both his formal universe and the individual are brought into contact. In Croft’s own words, “the interesting thing about my work is in the nuances and the small differences, not in trying to box it into a defined line.” Ultimately, it is an artistic project outside the itinerary fixed by schools and groups.
In line with this conception, his creations are always the result of research into the processes that unfold within, where visual, plastic, and poetic dimensions of the created objects intertwine, producing a sense of precarious balance between the stable and the 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 that combine both the materiality of the object and its formal aspects. In some cases, these latter are reinforced by the use of bright industrial paint applied in a way that suggests a perception of the sculpture as a painting in relief. Moreover, Croft employs 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 ultimately 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 Calouste Gulbenkian Foundation in Lisbon, or the Museo Reina Sofía in Madrid, and this year he is Portugal’s representative at the Venice Biennale.