From the late 1960s onward Sorel Etrog forged friendships with prominent figures such as Samuel Beckett, John Cage, Eugène Ionesco and Marshal McLuhan. Using these relationships as a source of inspiration and engaging his friends as partners for creative collaboration, Etrog initiated a wide array of artwork, which went beyond his usual sculptural craft as he produced artist books, designed costumes and sets for theatre, and created multimedia performances.
Etrog and these eminent figures shared the mutual attraction and commitment to absurdist philosophy, a worldview which embraces the meaningless of human existence without ever striving for a resolution as expressed by Beckett’s Waiting for Godot or Ionesco’s Rhinoceros.
These artistic experimentations exemplified Etrog’s hunger for innovation and his intellectual prowess. While the diversity of these projects testify to Etrog’s creative capacity, his ability to engage with complex materials and reinvent them in visual form renders the works artistic objects in their own right.