Lost Optics. Op Art modern.
Lost.Optics shows us geometric shapes, in bright colors, futuristic in style, influenced by digital art forms – a modern variant of Op Art. Op Art is considered a variety or further development of concrete art. The works of art are abstract, sometimes colorful, with ordered bodies, lines and patterns, and their arrangement creates dynamic visual effects. This gives the impression of movement, vibration, overlapping.
The high phase of Op Art began in the 50s of the 20th century. One of their early protagonists was Victor Vasarely.Some works can be counted as kinetic art because they not only simulate movement, but (individual) elements are actually moving – manually, mechanically or electrically. The visual effects change as a result and are reinforced compositionally.
The perspective and the movement of the viewer also change the perception of the optical effects. Op Art makes viewing, viewing habits and patterns of perception its theme and reflects the illusions of true perception. Viewers put themselves in a relationship to the pictures, make themselves opposite, each with individually special experiences and feelings.
The shapes, lines, and patterns of the pictures themselves do not represent mundane objects. There is therefore nothing in them that can be objectively recognized. This is a challenge for the viewer. People want to make sense of what they see. They look for knowledge in visual stimuli that correspond to their experiences. As psychological studies show, they tend to ascribe a meaning, even if it has no structure, no pattern and does not want to represent anything – such as a surface with a large number of randomly applied points.
Op Art pictures want to challenge, irritate, confuse. They often make it impossible to fix your gaze on individual elements, especially when they are displayed in dark rooms. The illusion of movement is additionally reinforced by the autokinetic effect. And that may only be tolerated to a limited extent – without flickering and dizziness. The viewer is forced to evade the stimulus – and thus the illusion! In this way the illusion itself and knowledge, the way we gain knowledge, can be reflected.
The term Op Art, short for Optical Art (Optical Art), was coined by the critic Jon Borgzinner, first introduced in Time Magazine in 1964. The label was established through exhibition reviews – for example Julian Stanczak’s “Optical Paintings” exhibition at Martha Jackson Gallery or the exhibition “The Responsive Eye” at the New York Museum of Modern Art (February 1965).