COLLECTION - Fundació Antoni Tàpies

embenat, 1981) or of bronze (Crani 376, 1987). On the other hand, toward the end
of this decade his interest for eastern cultures is reinforced. This concern had
already incubated during the years after the Civil War and went on to become a
fundamental philosophical influence in his work for its emphasis on materials, for
the identification of man with nature and denial of western dualism. Likewise,
Tàpies feels influenced by a new generation of scientists that support a vision of the
universe that understands matter as a whole which is subject to change and
constant formation.
In the 1990s, his interest in eastern art and philosophy increases, as can be seen in
works like Trio (díptic) (1994), an homage to the Japanese monk Sengai and his
teachings. In recent years, Tàpies has returned to his origins, with a clear desire to
reaffirm and consolidate criteria. The presence of matter is also renewed in the
works of this period which indicates that everything participates in the continuing
impulse to form, transform or deform which is dictated by the rhythm of the
universe (Dues formes, 1999; Matèria i cartons, 2006). Likewise, the fragmented
body reappears (1/2, 2003) often represented on a larger-than-life scale.
Amplifying a small and simple body, Tàpies makes it cosmic. This is one of the keys
that the artist has wanted to show throughout his career.
Fundació Antoni Tàpies. July 2007