Sérgio de Camargo (April 8, 1930 – 1990) was a sculptor and relief maker, born in Rio de Janeiro, Brazil. Sergio De Camargo studied at the Academia Altamira in Buenos Aires under Emilio Pettoruti and Lucio Fontana. Camargo also studied philosophy at the Sorbonne in Paris. On a protracted trip through Europe in 1948, Camargo met Brâncuși, Arp, Henri Laurens and Georges Vantongerloo. Sérgio de Camargo showed work at numerous international exhibitions, including the 1965 São Paulo Biennale (where he won a gold medal), the 1966 Venice Biennale, and the 1968 documenta in Kassel. Sérgio de Camargo died in Rio de Janeiro in 1990. The Tate Gallery in London has one of de Camargo's work in their permanent collection. Early life and education Sergio Camargo was born in Rio de Janeiro in 1933. Camargo began his art education at the Academia Altamira in Buenos Aires under Lucio Fontana and Emilio Pettoruti . He would later move to Paris in 1948, where he enrolled at the Academie de la Grand Chaumiere. He also studied at the Sorbonne, where he encountered the philosopher Gaston Bachelard. However, Camargo was most influenced by Constantin Brancusi’s study of the natural world through the lens of volumetric forms, which inspired his interest in the language of materials. When Carmargo returned home to Brazil in the 1950s, he stumbled into the rising Neo-Concrete Constructivist and Kinetic Op Art movements. Camargo found that the volumetric forms captured the immaterial qualities of being. Ultimately playing with light and form to express feelings of existence. In 1952-53 he again returned to Europe and went to China in 1954. Between 1961 and 1974 Sérgio de Camargo remained in Paris, where he became a member of the Groupe de Recherche d’Art Visuel (GRAV) in 1963. During that period he concentrated on structuring monochrome white surfaces some in "Polyhedral Volumes of Mutable Readings" using parallelepiped shapes and others with cylindrical wooden reliefs, in both cases proposing the play of lights and shadows alternating between order and chaos, fullness and emptiness. As retold by Guy Brett, a curator and friend: “Cutting an apple to eat it, he sliced off nearly half and then made another cut at a different angle to take a piece out. The two planes made a simple relationship between light and shadow. Camargo grasped it; unconsciously, he had made the first cylindrical element. In the apple was the synthesis he