Progresion Rosa 

Editor: This is Jesús Rafael Soto's "Progresion Rosa," a sculpture made of metal and ink. The rows of pink rods give it an almost soft, delicate feel despite being constructed from such rigid materials. How do you interpret this work, thinking about its title and the artist’s larger practice? Curator: Well, Soto was a key figure in both Kinetic and Op Art, and I think those movements offer important entry points. "Progresion Rosa" speaks volumes about the interplay between art, perception, and politics, even without overt references. Consider how Soto engages with geometric forms, moving beyond pure abstraction. He explores how those forms influence the viewer's understanding of space and movement, challenging our perceptions and assumptions about reality. What power structures might be subtly reflected or challenged here? Editor: I see what you mean. It’s not just about a pretty pink object. But what specifically should viewers consider about power when engaging with abstract forms like these? Curator: Soto created work concerned with sensory experiences and political statements; they are not mutually exclusive. This “progression,” this structured growth, could be read as mirroring social hierarchies or, conversely, an organic rise against oppression. And the use of pink? A colour often gendered, softening this architectural form. Do you see this “softening” as subversive? Is the kinetic quality perhaps gesturing towards disrupting such hierarchies? Editor: That's a great point; considering color associations changes everything. I was so focused on the geometric pattern that I missed the more subtle points. Curator: Exactly! Soto provokes viewers to actively participate, question, and reimagine established societal frameworks. His work becomes a site for social change, one perception at a time. Editor: Thanks; I definitely appreciate this in a different light now, considering how Soto’s art exists within and comments on these different contexts.