Assemblage Géométrique No. 4
Assemblage Géométrique No. 4 is a layered study in proportion, color, and form. Composed of precision-cut and hand-colored paper, each shape is arranged in a deliberate interplay of overlap and alignment—inviting the eye to explore its shifting spatial relationships. The palette of umber, cream, navy, and cobalt reflects the refined restraint of mid-century European design, while the composition itself nods to the Bauhaus school’s experiments in form and color theory.
Float-mounted within a shadow box frame without acrylic cover, the piece retains the tactile presence of the materials—allowing the surface textures and subtle shadows to remain alive to changing light. At 30” x 40”, its scale and dimensional depth command attention, making it equally suited to a modern gallery wall or as a standalone focal point.
Original: $3,725.00
-65%$3,725.00
$1,303.75More Images
Assemblage Géométrique No. 4
Assemblage Géométrique No. 4 is a layered study in proportion, color, and form. Composed of precision-cut and hand-colored paper, each shape is arranged in a deliberate interplay of overlap and alignment—inviting the eye to explore its shifting spatial relationships. The palette of umber, cream, navy, and cobalt reflects the refined restraint of mid-century European design, while the composition itself nods to the Bauhaus school’s experiments in form and color theory.
Float-mounted within a shadow box frame without acrylic cover, the piece retains the tactile presence of the materials—allowing the surface textures and subtle shadows to remain alive to changing light. At 30” x 40”, its scale and dimensional depth command attention, making it equally suited to a modern gallery wall or as a standalone focal point.
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Description
Assemblage Géométrique No. 4 is a layered study in proportion, color, and form. Composed of precision-cut and hand-colored paper, each shape is arranged in a deliberate interplay of overlap and alignment—inviting the eye to explore its shifting spatial relationships. The palette of umber, cream, navy, and cobalt reflects the refined restraint of mid-century European design, while the composition itself nods to the Bauhaus school’s experiments in form and color theory.
Float-mounted within a shadow box frame without acrylic cover, the piece retains the tactile presence of the materials—allowing the surface textures and subtle shadows to remain alive to changing light. At 30” x 40”, its scale and dimensional depth command attention, making it equally suited to a modern gallery wall or as a standalone focal point.
