69 (1968)

Breer's work has often focused on the mechanics of cinema and has featured hand drawn 4x6 index cards that are composed into formalist, repetitive studies, such as 69, which is so absolutely beautiful, so perfect, so like nothing else. Forms, geometry, lines, movements, light, very basic, very pure, very surprising, very subtle.
Like many of his generation, Breer's early work was influenced by the various European modern art movements of the early 20th century, ranging from the abstract forms of the Russian Constructivists and the structuralist formulas of the Bauhaus, to the nonsensible universe of the Dadaists.

Breer acknowledges his respect for this purist, cubist cinema, which uses geometric shapes moving in time and space.
Breer continued to search for historical perspectives in his work and discovered the color theories of Chevreul and Rood. He also began a series of minimalist pieces based on number series, which were nonfigurative and based on geometry and formal issues. 69 relyes on formalist images from his early research into color paintings.

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