In a constant quest for a personal artistic style, over time Eusebio Sempere, who was also a member of the Parpalló group, went from abstraction to geometric simplification, seeking to fuse dynamism and movement, volume and three-dimensionality. Starting out from the premises of and , he shifted towards

 Op Art 

international art movement whose name derives from the abbreviation of the term Optical Art. The movement emerged in the late 1950s and reached its peak between 1965 and 1968. The goal of Op Art is to produce the impression of relief, depth or vibration through visual and optical effects. To achieve this end, artists explore the relationships between colour and space, with the aim of evoking the intended physical experience in the beholder. Artists were influenced by, among others, theories of pure visibility and the theory and philosophy of perception. Although it became popular all over the world, it was in Europe where the movement had its greater development, with figures like Victor Vasarely (1908-1997) and also Carlos Cruz-Diez (1923-2019) and Jesús Rafael Soto (1923-2005); although Venezuelans by birth, these last two artists had settled in Paris in the 1950s and belonged to the circle who gathered around Galerie Denise René. In Spain, one of the main representatives of Op Art was the Valencian artist Eusebio Sempere (1923-1985).

and Kinetic movements.

The line is the basic unit of his practice, which he employed to create spectacular effects and geometric volumes that appear to levitate in space. Through the use of colour and the line, generally in parallel, he managed to endow his works with movement and volume, sometimes generating a

 moiré 

the moiré effect or moiré pattern is a visual effect generated by overlaying two grids of lines at an angle or when the grids have slightly different mesh sizes. The origin of the expression comes from a type of silk or fabric with a rippled, “watered” effect.

like effect.

The silkscreen would prove to be the medium most frequently used throughout his practice. He had picked up this particular technique in Paris around 1955 in the workshop of the Cuban artist Wilfredo Arcay (1925-1997), who was working for the Denise René gallery in prints for artists like Piet Mondrian (1872-1944) and Victor Vasarely (1906-1997), among others. Sempere recalled that learning the silkscreen technique was a slow, studied and meticulous process that allowed him to concentrate the motifs and figures to optimum effect and make them more evident. After his time in Paris, he started to produce silkscreens alongside his long-time collaborator Abel Martín.

The “Tiempo de París” series can be included within what he called his “loose series”, because, although they were not conceived as a homogenous portfolio in themselves, they did share a common idea. The group is made up of 10 silkscreens, made on black card, except for one on brown card (P00247), which are an exact replica of the gouaches he produced during his early period, between 1953-1955 and 1957-1960.

In this silkscreen, there is an incipient relationship with the geometric forms of Paul Klee (1879-1940) and also of Wassily Kandinsky (1866-1944). The works were made in an edition of 100 following the artist’s express desire.