View works. Carmelo Arden Quin
Untitled, 1986, Mixed media on shaped cardboard, 11 1/8 x 11 1/8 in
View works

" . . . What distinguishes us, what makes us original, is the use of irregular polygons as a dimension to inscribe a composition. In abandoning the four classical orthogonal angles (square and rectangle) as a basis for composition, we gained in possibilities for invention, in every sense of the word. We can create an infinite number of flat forms . . . . " [1]

 

— Carmelo Arden Quin

Leon Tovar Gallery represents the Estate of Carmelo Arden Quin.

 

Carmelo Arden Quin (b. 1913, Rivera, Uruguay - d. 2010, Savigny-sur-Orge, France) orchestrated a mesmerizing fusion of Constructivist geometry and Dada-like zeal in his creative endeavors. This captivating blend is evident in the dynamic abstractions that characterize his most celebrated works. Influenced by Joaquín Torres-García's "golden ratio" and the whimsy of transformable wooden toys, Arden Quin immersed himself in a realm of movement and playfulness, defining a unique aesthetic.

 

His pivotal role in shaping the Madi group in 1946, renowned for shaped canvases and innovative forms, became a milestone in Latin American avant-garde movements. Following a schism in the Madi group in 1948, Arden Quin embarked on a transformative journey in France. There, he continued to evolve his artistic style, studying Georges Vantongerloo's work and forging a friendship with Francis Picabia. This period saw him experimenting with reduction, giving birth to the intriguing "White Forms." Amid a brief return to Buenos Aires in the mid-1950s and a subsequent extended stay in France from 1958 to 1971, Arden Quin explored collage and decoupage as his mediums of choice. Throughout his illustrious career, he delved into literary pursuits, founded poetry groups, and fearlessly explored new materials. His unwavering commitment to expanding the possibilities of painting and sculpture echoes in his enduring legacy, with his work showcased in prestigious collections worldwide.