José Pedro Croft (1957) - Sin título

engraved by José Pedro Croft (*).
Technique: aquatint, drypoint and electric perforation. The work was created with two plates made with the technical collaboration of Tristán and Virgili Barbará.
Museum edition on thick wove cotton Arches paper, with its characteristic watermark.
Signed and numerated by the artist.
Publisher's blind stamp.
Includes Certificate of Authenticity (COA).

Specifications:

Support dimensions: 56 x 76 cm
Plate impression dimensions: 56 x 76 cm
Edition: 79/100
Year: 2003
Condition: Excellent (this work has never been framed or exhibited, and has always been kept in a professional art folder, therefore offered in perfect condition).
Provenance: Private Collection.

The work will be carefully handled and packaged in a reinforced flat cardboard carton. Shipping will be tracked and certified.

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 investigations into the relationships between space, time, and matter.
His career, written in both sculpture and drawing, has from the outset been marked by a careful constructive process in which both his formal universe and the particular come into play. In Croft’s own words, “the interesting aspect of my work lies in the nuances and small differences, not in trying to confine it within a single 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 the processes triggered inside them, in which the 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 perceiving the sculpture as a relief-painted object. 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 eventually appears, which can be transferred 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 represents Portugal at the Venice Biennale.