Lygia Clark’s early artistic journey led her to study under the guidance of Roberto Burle Marx, allowing her talents to flourish across various mediums. After a phase of painting and exploration of abstraction, she ventured to Paris in the 1950s, immersing herself in the Constructivist movement and establishing connections with notable artists of the era. In the late 1950s and early 1960s, Clark’s career underwent a profound transformation as she shifted from traditional art forms to a groundbreaking mode of participatory art known as “Neo-Concretism.” Her series of “Bichos” (Creatures) encouraged viewers to manipulate geometric forms, fostering an interactive dialogue between the art and the individual. This marked a departure from the conventional artist-viewer relationship and embraced the active role of the viewer in shaping the form of the artwork.
