Lygia Clark (Belo Horizonte, October 23, 1920 – Rio de
Janeiro, April 25, 1988) was a Brazilian artist best known for her painting and
installation work. She was often associated with the Brazilian Constructivist
movements of the mid-20th century and the Tropicalia movement. Even with the
changes in how she approached her artwork, she did not stray far from her
Constructivist roots. Along with Brazilian artists Amilcar de Castro, Franz
Weissmann, Lygia Pape and poet Ferreira Gullar, Clark co-founded the
Neo-Concretist art movement. The Neo-Concretists believed that art ought to be
subjective and organic. Throughout her career trajectory, Clark discovered ways
for museum goers (who would later be referred to as "participants")
to interact with her art works. She sought to redefine the relationship between
art and society. Clark's works dealt with inner life and feelings.
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In 1920, Lygia Clark was born in Belo Horizonte, Minas
Gerais Brazil. Clark became an artist in 1947. In this year, she moved to Rio
de Janeiro to study with Brazilian landscape architect Roberto Burle Marx.
Between 1950 and 1952, she studied with Isaac Dobrinsky, Fernand Léger and
Arpad Szenes in Paris. In 1953, she became one of the founding members of Rio's
Frente group of artists. In 1957, Clark participated in Rio de Janeiro's first
National Concrete Art Exhibition. This would be one of Clark's frequent trips
to Brazil in order to exhibit her artwork.
In the first decade of her career, Clark devoted her time to
painting and sculpture.[citation needed] In the early 1970s, she taught art at
the Sorbonne. During this time, Clark
also explored the idea of sensory perception through her art. Her art became a
multisensory experience in which the spectator became an active participant.
Between 1979 and 1988, Clark moved more toward art therapy than actually
creating new works. She used her art therapy to treat psychotic and mildly
disturbed patients. Clark returned to Rio de Janeiro, Brazil in 1977. In 1988,
she died of a heart attack in her home.
Some critics say her artwork presaged the modern digital
information era. Her later works were more abstract and holistic with a focus
on psychotherapy and healing.
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