T
he work of Brazilian artist Lygia Clark (1920-1988) stood out for its constant challenge to the artistic conventions of her time, particularly regarding the interaction between the artwork and its viewers. Clark envisioned and created an active and relational role for them, so they not only became accomplices in the process but also the very condition for the artwork's existence. While the artist was a part of the Brazilian Neoconcrete movement, in the 1970s, she began to gradually distance herself from the object to explore the sensory and therapeutic potential of artistic practice. Her letters to fellow artist Hélio Oiticica, with whom she maintained an intense correspondence over the years, reflect this shift:
"The object for me has lost its significance, and if I still use it, it is so that it becomes a mediator for participation. (…) In all that I do, there really is the necessity of the human body, so that I expresses itself or is revealed as in a first (primary) experience. For me it doesn’t matter whether I am avant-garde or placed within new theories. I can only be what I am."[1]
