Another step forward resulting in a real leap in the quality of method, is Moretti's use of orthogonal intersections. Two adjacent faces of a cube or a cuboid become a sculpture's generating elements, male and female. The figures drawn on the two surfaces originate mainly from abstract mathematics (sinuoids, cosinusoids etc.), but also free style designs (for example, the outline of the sculptor's son's hands) which represent the genetic male and female characteristics.
The outline drawings are followed by the orthogonal synthesis of the two cuts in the volume, the mysterious rich moment which brings an unexpected new life to the forms, as in nature. Moretti is no longer copying the appearance of nature but its indecipherable internal creative process.
The genetic changes on the volume's two surfaces, which are potentially infinite, are enthrusted to the sculptor's choice; a function which is performed at random in nature. The artist never knows what the final result of his intervention will be; but the genetic manipulation is always accompanied by aesthetic taste which decides, once the operation is finished, whether the work of art should be kept or thrown away (somewhat the fate of the unhappy creatures on the cliffs of Tarpea). Amongst the sculptures that have passed the test are Quark, Spatial Spiral and Spatial Dance of Circles. But Moretti's genetic engineering ingenuity has yet more surprise in store. Like DNA, he tries using the figures of Lissajous, which comprise an orthogonal synthesis of two harmonious movements (like a pendulum). In this case it is possible to trace in the final result a sort of genetic mapping or family tree going back three generations. It was actually whilst working on one of these harmonious intersections that the artist realised that even the waste materials could have an aesthetic relevance to the work as a whole. The result of this brainwave can be seen in a recent sculpture, Egypt.
Thinking he was doing just a normal orthogonal intersection, Moretti drew two
identical cosinusoids, each framed by four triangles, on the two adjacent faces.
The design seemed to be a very effective symbol of Egypt, with the River Nile
self-reflecting in the background of the Pyramids. He started the sculpting operations
and realised with amazement that not only was the Nile symbolised in
six various ways, but also that the pieces cut out formed two perfect pyramids.
Perhaps it is possible to investigate the abstract mathematical rules resulting in
this great harmony, but the artist did not care for analysis: it is enough to say
that physics bowed to the artist who had the aesthetic end in sight. Moretti thus
shows a centaurean nature, a fusion of science and art which is so stimulating
and relevant in the light of our contemporary civilisation, because it responds
poetically to a need to humanize a work at risk of slipping more and more into
technological alienation.
(Giovanni Stipi)
Recent Exhibitions
Art Gallery
Address
Guido Moretti
Via Nikolajewka, 11
25073 - Bovezzo (BS) - Italy
tel/fax ++39-030-2001491
