GUIDO MORETTI, MOBILE FORMS IN THE AIR.
Visiting an exhibition of Guido Moretti is an emotion for the mind, for the heart, for the spirit; it is letting oneself be seized by the true magic of art, capable of making us children again, amazed by a new image of the world. The marvelous sculptures of the 62-year-old artist from Gardone Val Trompia animate the space with a slight kineticism, revealing the metamorphosis of their shape which changes according to a secret science known only to the author.
Moretti’s art is, philosophically, coincidentia oppositorum: rationalism and visionary coexist in his skilfully constructed artifacts-artifacts-architectures, which compose and break down an unprecedented, mobile and arcane plasticity. In the conception of the philosopher Cusano the mathematical infinity becomes a model of the divine infinity, and reason is the properly human sphere, the “Aristotelian” one where the principle of non-contradiction reigns: one form cannot be another form. But man, emanation of the Creator, is also endowed with a “divine” sphere: that is, the intellect, where opposites coincide.
Just as happens in Moretti’s unsettling creations, played on aesthetic postulates that collect the best of contemporary visual culture, the optical lesson, Fontana’s spatialism, Munari’s ArteConcreta Movement, which sought the synthesis of artistic languages and knowledge. Like acrobats or butterflies clinging to invisible threads, Moretti’s works are refined poetic devices, small Leonardesque machines of bronze, wood and nylon, designed for movement and animation, to rotate, tilt, swing according to rules, guidelines, coordinates and orthogonal which are not the ordinary ones of Euclidean conventionality but the dynamics of life and nature, where lightness and play, ambiguity, illusionism, the oneiric are not excluded. Works that now appear to us as graceful shells of lamellar wood, passing from convexity to concavity; now as spirals also mutant; now as cubes, columns, totems and moons with a variable arrangement; in everything different materials and technologies intersect, assembled with sophisticated craftsmanship and above all with extreme mental rigor but always open to complexity, in search of the hidden harmonies inherent in the ratio.
Truly, to quote Dante, Moretti’s works – visible in the gallery “The monks under the stars”, tel 030/2421427 – appear to us shaped by an “intellectual light full of love”: love for thinkable beauty. The “urban” photographs of Raffaella Braga accompany them worthily.
I have some works in the gallery that allow me in a few minutes to “stop” the types who are always in a hurry.
I love the speed of the futurists but I am against the neurosis of the present times.
Munari’s polariscop is one of these works. If I have the time to turn it on and put the matching lens in someone’s hand, anyone forgets they’re on an appointment or has to run to the office.
I get the same result with a Zanoletti “relief” or a “flow”.
by Victor Simonetti, both of ancient date.
For a few years I have kept a planned sculpture by Guido in sight
Moretti so naive and disordered as to go unnoticed. It is the “coup de grace” for the unfortunate who is about to leave. “
Look at this tangle ”I say quickly. The visitor turns, looks and I rotate the sculpture 45 degrees.
Almost at the same time, I hear an exclamation of surprise.
After a few seconds I do another 90 degree rotation. The final sentence is usually this: “It’s impossible! I think it is (in English) the same exclamation of Al Seckel, director of the world’s largest illusory art center in Los Angeles (USA), when he saw his first sculptures years ago. In his latest book, some of these sculptures represent practically Italy, because, among the few artists mentioned, Guido Moretti is the only Italian present.
ORTHOGONAL AND FANTASTIC
The scientific and poetic specularity of Guido Moretti’s work is reflected throughout the universe of his research, in a symbiosis of form and content, in which the cognitive and contemplative aspects are presented as the body and soul of a construction in which the skin corresponds to the skeleton, because everything is shown in the immediacy of a formation that has as a pre-eminent sensorial datum of the subject in the object …DOWNLOAD THE COMPLETE CRITICISM ]
It was Gillo Dorfles who warned us against an ever-current risk when we end up “giving too much faith to theoretical claims, to pseudo-scientific interpretations of physical, physiological or psychological theories by artists”. What matters is the artistic result and the creative process; Impressionism, for example, and not the theories on which the Impressionists based their experiments … [DOWNLOAD THE COMPLETE CRITICISM ]
Guido Moretti was born to be a sculptor. He lives in direct contact with the concreteness of reality, which is rooted in space. For him the plastic value of objects cannot be illusory, as in painting, it must be effective. His creativity is of such a nature that he feels satisfied only within a solid three-dimensional dimension … [