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Descala

2002-2003

Brazilian, born 1948

Meireles came of age during the Brazilian dictatorship in the 1960s and ‘70s, and his work often addresses political oppression and resistance. In his Descala series, the artist uses the form of the ladder as a metaphor for infinite motion that can be continued in either direction—upward as an illusion of freedom or downward to implied entrapment. Here, the markings that compose the ladder are deconstructed and reconstructed in 16 different configurations, an exploration of the infinite possibilities of the seemingly simple form.

Ferruginous drawing engraved chemically in carbon steel plate

Each plate: 19 3/4 x 19 3/4 in. (50.2 x 50.2 cm)

Gift of Dennis Braddock in memory of Janice Niemi

2023.22.15

Provenance: The artist; [Galeria Luisa Strina, São Paulo, Brazil]; purchased from gallery by Dennis Braddock and Janice Niemi, Seattle, Washington, 2003

Photo: Scott Leen

Now on view at the Seattle Art Museum

Resources

Exhibition HistorySão Paulo, Brazil, Galeria Luisa Strina, Cildo Meireles: Descala, Oct. 7 - Nov. 14, 2003.

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