Cubo

A perfect hexagon floats suspended over an impenetrable black background, feigning to be a cubic volume that in turn contains and deforms a multitude of other cubes. The gaze is instantly caught in an optical paradox: the flat surface asserts its two-dimensionality through the crispness of its edges, while the mathematical modulation of the inner pattern pushes matter outward, as if a spherical force were striving to rupture geometric containment from within.

The framework is built from an isometric tessellation in which each rhombic module folds to suggest facets of light and shadow. Toward the center and the vertices, these units undergo a calculated anamorphic distortion, stretching and compressing along curves that warp Euclidean space. The chromatic choice is not decorative but functional to the kinematics of the image. Warm tones (luminous oranges and deep vermilions) advance toward the viewer, while seafoam greens, mints, and cerulean blues recede, provoking a constant visual oscillation where figure and ground alternate relentlessly.

The mixed media on this contained 39 by 39 centimeter format reveals a rigorous execution, where the transitions between color fields are clean and almost clinical, yet retain the warmth of the hand in their subtle shifts of sheen. Created in 1980, the piece participates in the investigations of perception and optical-kinetic art, where the work does not remain static before the observer, but activates with ocular movement. This multifaceted prism functions as a hermetic crystal, an artifact of pure contemplation that challenges the stability of our spatial certainties through the relentless rhythm of geometry.