The Henry Moore Institute, in the British city of Leeds, is well known as a center dedicated to the study, documentary archive and exhibition of sculpture. It is part of the Henry Moore Foundation, created in 1977 by the great British sculptor.


Gego’s exhibition made its third and last stop in the HMI. Its director, Lisa Lefevbre, one of the curators of the exhibition, explained her special interest in Gego’s oeuvre.


This show  underlined Gego’s visionary approach to sculpture, a term she herself refused to use for her work. In one of her testimonies the artist expressed: “Sculpture, three-dimensional forms of solid material. Never what I make.”


The selection of works for this exhibition covered the artist’s creation of 34 years, from 1957 when she started developing her thoughts on sculpture with the work Vibración en negro (Vibration in black). In Lisa Lefevbre’s words, this torso of continuous form in black painted aluminum hanging from the ceiling softly responds to the air’s movement and distributes its volume through its shadows. The last works are dated 1991, when Gego concentrated on her Tejeduras (Weavings), interwoven paper strips which combine reproductions of her own works with pages from magazines and cigarette pack strips, and on Bichitos (Little beasts), small format assemblies made from materials available in her immediate surroundings. Between those two points in time Gego created large-scale nets, columns and spheres which filled the galleries, drawings without paper as well as watercolors, drawings in ink and engravings.

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