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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