(Alicante, Spain, 1924 – Alicante, Spain, 1985)
Born into a family of craftsmen, his artistic tendency was evident from an early age. He followed courses at the School of Arts and Crafts. In 1941 he entered the San Carlos School of Fine Arts. In 1948 he obtained a scholarship from the University to study in France, where he came into contact with the latest movements and their representatives. He exhibited his first abstract paintings for the first time in 1949 at the Galería Mateu in Valencia, and then went to Paris, where he lived for ten years. He exhibited in the most avant-garde galleries in Europe and America. His works are shown, among others, in the Museum of Valencia, the Museum of Modern Art of Barcelona, the Museum of Modern Art of Rio de Janeiro, the Museum of Modern Art of New York, the Museum of Modern Art of Hamburg, the Fogg Museum of Harvard, the British Museum of London, etc.
«While many artists take pleasure in shredding the paste that does not want to respond, for Sempere, lead has long since given up its secret. As a conclusion to his numerous two-dimensional researches, already luminous, he has taken the courageous leap; his recent works offer a synthesis of luminous plastic kineticism. The rigour of the sign, the measure of the colour-light that is inscribed in time with a restrained and therefore more moving sensibility. What could be more worthy of exaltation than to invent a language that is obviously significant in itself for many others?». (Victor Vasarely).
(From the brochure of the I Exhibition)
Eusebio Sempere, Onil, Alicante, 1923 – Valencia, 1985. Son of an artisan doll maker, he studied Fine Arts in Valencia and after receiving a scholarship moved to Paris in 1948, where he came into contact with the work and personality of Braque, Kandinsky, Arp, Soulages, Chillida and Vasarely, among others. Interested in kinetic art, in 1955 he took part in the Salon des Réalités Nouvelles and published, together with Soldevilla, a manifesto on the use of light in the plastic arts. He was one of the cultural renovators of Valencia together with the Parpalló Group. His work, in a geometric style based mainly on the line as a module, recreates a new kinetic vocabulary with a refined chromatic range by means of a system of surfaces superimposed at a distance and perforated with interior lighting of different intensities. As a painter, sculptor and engraver, his work represented Spanish art at the Tate Gallery in London in 1962. The Ford grant enabled him to travel and exhibit in New York, where he took part in the historic exhibition The Responsive Eyes. He exported his computer-made works to various national and international exhibitions. His work can be found in Rio de Janeiro, New York, Hamburg, Harvard, and the British Museum, among others. One of his latest monumental works is the one at the entrance to the Fundación March in Madrid.
(From the documents of the II Exhibition)