TRIDIM 1968

Curator: Looking at Vasarely's "TRIDIM" from 1968, the first thing that strikes me is its destabilizing effect. It really messes with your perception. Editor: It's definitely dizzying! This acrylic painting has such a strong visual pull, as if the cube-like shapes are both projecting out and receding simultaneously. What is it about the construction that engages you most? Curator: It’s all about the execution. Vasarely meticulously arranges those precisely painted squares, utilizing gradations in color to create that powerful illusion of depth. And for me, the repetitive forms speak to the industrial processes rapidly changing the world at the time. This feels like a piece deeply embedded in its socio-economic context. Editor: Absolutely, and we have to remember Vasarely's work found tremendous commercial success. His art became integrated into graphic design and even architecture; this geometric language transcended the traditional boundaries of the art world. Were there critiques of this popularity at the time? Curator: Yes, precisely! While celebrated for democratizing art, he faced criticism for what some considered the mass production and commodification of his images. Questions arose about the role of the artist and the very definition of "originality." This commodification extended beyond gallery walls influencing a widespread cultural embrace of Op Art patterns in everyday life, blurring boundaries. Editor: It is amazing to think about this work and its reception being influenced by things such as consumerism and technology of the time. Looking closely, I see that some edges are painted very cleanly and other lines are fuzzy—it really pushes the dimensional perception. I imagine how groundbreaking the painting was for its time. Curator: Agreed, its radical experimentation really tested definitions of high art. Editor: Thanks for giving us a fresh way of looking at it! Curator: My pleasure, I hope visitors find its enduring resonance as compelling as I do.