Throughout his career Cruz-Díez has focused on four types of self-defined Op art categories: Physichoromies, Chromo-interferences, Chromosaturations and Transchromies.
All these colour-based experiments focus on variations of the observer’s position in relation to the work, the light directed at the work, and the relationship between the colours presented.
Additive Yellow, 1959
Physichromie 21. Paris, 1960
Physichromie 113, 1963
Physichromie
Physichromie is an illusionary work of art that changes colour and appearance depending on the viewer’s position, engaging them as an active participant in creating the chromatic experience.
The effect is achieved through the use of carefully composed parallel lines and strips, often involving layered aluminium or plastic panels, which create a moiré pattern that gives the illusion of motion.
Physichromie Panam 110, 2013
Double Physichromie, 2009
The artwork is an experiment in colour theory and perception, moving away from traditional painting techniques to focus on how colour is created and perceived through the interaction of light and material.
Physichromie No 2376, 1998
Physichromie 2575, 2013
Transchromie
“The Transchromie focuses on how colour is affected by subtraction. When superimposing a structure consisting of coloured transparent strips placed at varying distances and in a specific order, subtractive combinations are achieved that change according to the displacement of the viewer, the intensity of the light, and the surrounding colours.
Because of their transparency, the strips of colour allow a view of nature that has been modified by the phenomenon of subtraction. The reading of the coloured transparent support, with its reflected or translucent images, stimulates visual access to ambiguous spaces.”
Environnement de Transchromie circulaire, 2023
Couleur Additive
“This investigation is based on the radiation of colour. When one plane colour touches another, a darker vertical line appears at the point of contact. This virtual line in fact contributes a third colour that is not in the support. By isolating this optical phenomenon, Cruz-Diez obtains the so-called “Chromatic Event Modules” responsible, in a way, of the continual transformation of the colour.”
Couleur Additive 76, 1974
L’Euphorie de la couleur, 2024
Chromosaturation
“The Chromosaturation is an artificial environment composed of three colour chambers, one red, one green and one blue that immerse the visitor in a completely monochrome situation.
Chromosaturation, Colour in Space and Time, MFAH Houston, 2011
This experience creates disturbances in the retina, accustomed to receive wide range of colours simultaneously. The Chromosaturation can act as a trigger, activating in the viewer the notion of colour as a material or physical situation, going into space without the aid of any form or even without any support, regardless of cultural beliefs.”
Chromosaturation, Colour in Space and Time, MFAH Houston, 2011
Cruz-Diez used this to show that perception isn’t stable and nothing can be understood from a single viewpoint.
All quotes from: Carlos Cruz-Diez, Mastering Colour, Hong Kong, 2017
Reflections & learning
- Really interesting to read how the artist’s career & work has evolved over time—from small experiments to large scale immersive installations.
- Seeing this evolution makes it feel more realistic and achievable.
- He’s specialised and gone so deep in one discipline, almost owning this space entirely—and I’d love to find my own area of specialism like this.
- One of my favourite pieces is the first one (“Additive Yellow”) with the two lines. It’s so simple & clean. This is definitely something I’m drawn towards and consistent with the work I’m drawn to from Soto & Vasarely too.