Intrigued by the nature of perception, Jacques Yvaral experimented with kinetic artworks throughout the 1960s, exploring how the shifting position of the viewer could impact movement and optical effects. Yvaral belonged to GRAV (Groupe de Recherche d’Art Visuel), a collective of artists based in Paris who sought to interrogate the habitual ways we interact with art and the world.

In his Kinetic construction, Yvaral works in the mode of optical art and geometric abstraction, challenging the static nature of painting. He harnesses repetition, the alignment of objects in the foreground and background, and the natural movement of the viewer to create a visual contraption that plays with peripheral vision.