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For
some time now I have been researching the possibilities of creating
sculptures by applying a rigorous method, a sort of “programme” that,
when followed step by step, leads to the birth of form.
First
of all I encountered the method of stratification, then rotation –
which resulted in my variable geometry sculptures. Then I discovered an
exciting method that I call Orthogonal
Intersections.
This new technique consist of cutting the chosen material following set
lines drawn on the perpendicular faces of a cube or parallelepiped.
Imagining a priori the end result of such an operation is really
difficult, so much so that the method of orthogonal intersection appears
to possess its own creative powers. The result at certain levels is
virtually unpredictable – only when the project is followed by
execution do you see all sorts of strange, surprisingly, fascinating
aerial shapes emerging from the block.
Each work
created using this technique involves several stages of preparation in a
crescendo of excitement and suspense: finding pure lines to intersect at
right-angles, preparing the equipment, and finally cutting the material
lead to the immense joy of seeing a new shape for the very first time if
the result comes up to my expectations in terms of beauty, or the
disappointment of seeing an insignificant or commonplace object. In
short, a formidable sequence of extraordinary emotions I would not miss
for anything in the world.
And
that is how I saw my damped
sinusoid (orthogonal intersection of a muffled sinusoid with itself)
come to life, or the square
spiral (orthogonal intersection of a muffled sinusoid with a muffled
cosinusoid) or again the quark
(perpendicular intersection of a square with a circle) and the
interesting spatial spiral (orthogonal
intersection of two spirals). And the list continues.
But the most fascinating thing about this technique lies in the research
opportunities it offers. I am convinced that the more ways there are of
applying a method, the greater significance it assumes.
I
have the distinct feeling of having taken another step towards the
fundamental core of nature, its primary essence.
March 1994
Guido Moretti
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