Luis Tomasello enters in 1932 at the National School of Fine Arts of Buenos Aires. From 1940 to 1944, he continued his studies at the School of Painting "Ernesto de la Carcova" and worked figuration until 1950. The following year, he made his first stay in Europe, followed by a second in 1956 that pushes him to approach geometric abstraction.

 

In the kinetic movement, Tomasello's work occupies a special place. Solely concerned about light problems, the Argentinian artist works in three dimensions while keeping an equal surface. Based on the work of Mondrian like all kinetics, he releases the color of the flat surface of the painting to make it go forward or backward. The relief allows him to "work the light" thanks to shadows that animate the surface. Thus, identical whites appear different according to the inclined facets and the reliefs on which they are affixed.

 

Tomasello rejects a linear reading of his work. His "Chromoplastic Atmospheres" have their origins in warm colors that oppose cold colors. Three elements form the basis of his work: the optical vibration produced by the repetition of forms (lamellae, cubes), the translation of the light which is supposed to vary according to the hours of the day, and finally the movement of the spectator without which no kinetic work can not exist.