Jesus Rafael SOTO (1923-2005). Vibrations, 1960. Mixed media on isorel metal, paint. Signed, titled and dated on the back. 93 × 65 × 20 cm (Restorations). In late 1957, Soto first confronted a tangled skein of found wire with a striated background, and titled the resulting work "First Vibration. The experiment of associating found elements with striated backgrounds would continue for five years, from 1958 to 1962: "I felt the need to prove to myself that I could use any element in my work," says Soto in his Conversations with Ariel Jiménez. "The idea was to use the most insignificant but also the most formally solid -old wood, wires, needles, wire mesh, pipes-, to inscribe them in my work and bring them to a state of disintegration through pure vibration. It was a question for me of studying all the possibilities of the vibration, even the most minute, he confided in 1999 to Daniel Abadie. A straight line creates a movement, not a vibration. If the line is irregular, it allows the vibration effect to be split up as much as possible. All these twisted lines, but also each of them separately, have a particular capacity of expression of the vibration. I was fascinated by the idea of all these possibilities. By transmitting them through very irregular elements, the result was pluralistic and, instead of being repetitive, became an almost infinite source of vibratory particles."-Jean-Paul Ameline "Jesus Rafael Soto in the Collections of the Centre Pompidou, Musée National d'Art Moderne, February 27-May 20, 2013. A certificate from the Soto Committee will be issued to the buyer.