The present lot, Amazonía (1999), belongs to Jorge Eielson’s most important body of work in which he references his heritage and continues his rigorous investigation of color, science and conceptual art. In the late 1940s, Eielsen emigrated from his native Peru to Paris, later settling in Italy where he immersed himself in the cosmopolitan social circles of artists like Alberto Burri, Cy Twombly and the MADI group. These relationships contributed greatly to the development of his artistic language. Eielson’s main concern was breaking away from flat planes and two-dimensional objects as a means of creating a visual lexicon completely independent from his peers. This rupture is evident in Amazonía, a work from his quipus series. The term quipus, from the native Inca language of Quechua, refers to a Pre-Columbian counting system that used a variety of colored knots to methodically record information. Eielson utilized canvas and other fabrics, which he twisted into different knots as a means to allude to his Peruvian heritage. Notably, this juxtaposition of knots on painted canvases also reveals his understanding of pictorial form and color. Amazonía and other works from this series spearheaded the development of a visual language evolving into a myriad of variations on a single motif, that of the quipus, which catapulted him to the forefront of international modernism.