“In patterns, you see the similarities and the distortions.”Īt this - as if embodying a staccato drum solo - Moretti gestures around the room, pointing out some of his favorite works, his voice still hushed but mounting with intensity. “Punctuation is what notes are,” he says. Peering into “Kube,” Moretti explains that he sees light and recurring patterns as rhythms. Instead, he worked with a friend, welder and artist Franco V, and his artist girlfriend, Gabriella Corey, over the last two years to finish the piece. The younger Moretti conceived of “Kube” for the 2019 show, but it required intricate wiring and was too complicated to get off the ground at the time, he says. For that show, the elder Moretti, then 45, selected Renaissance paintings and sculptures to exhibit and the younger Moretti created immersive installations, which played with light and physical space, to guide the viewer through the exhibition. He was inspired to create “Kube” during a 2019 exhibition at Sotheby’s New York, “Fabrizio Moretti x Fabrizio Moretti: In Passing,” for which the Strokes drummer partnered with an Italian art dealer of the same name (no relation - Sotheby’s paired them). He often sketches his bandmates on tour, and he always makes a point of visiting museums in other cities. He was making sculptural assemblage works in his twenties when the Strokes took off. Moretti has always been obsessed with art, he says - he “drew everything” as a kid growing up in Manhattan. It’s really about harnessing the environment.” “In terms of light and space, it’s a homage - in the way the light and space movement was an attempt at harnessing the effects of physics through an artistic lens. “I was going for a kaleidoscopic effect, not just infinity on three planes, I wanted the vectors to change,” Moretti says. The work, Moretti says, is inspired by Yayoi Kusama’s Infinity Mirror Rooms, which he discovered at the Broad museum it’s also informed by Bruce Nauman’s work, which Moretti was smitten with at New York’s Dia Beacon. But Moretti’s installation is nonetheless thoughtful and lively. His celebrity is no doubt a way to draw foot traffic to the space, where all the works are for sale. With his narrow frame, shaggy curls and blazer over skinny pants, there’s a schoolboy eagerness to Moretti. And being able to see yourself and the relationship you have with the artwork kind of sanctifies that moment - I’m hoping.” “But it can also be a point of self-reflection, you kind of see yourself outside yourself, one of many perhaps. “The mirror can be a source of vanity,” he says softly. Touring the gallery, Moretti’s tone becomes increasingly hushed the more excited he gets, until he’s speaking in a barely audible whisper under his face mask, punctuating thoughts with long pauses. “It’s a melted cube,” the Brazil-born, New York-raised Moretti, 41, says of his work.
Resting inside, in the eye of a storm of angular reflections and shadows, is a work by Anish Kapoor, a lacquered, stainless steel disc glowing gold and green. Viewers on the outside can peer in, but not vice versa.
It’s mirrored on the inside, the glass a patchwork of squares and elongated triangles, and it’s lined with fluorescent tubing. It looks like a glowing spaceship that’s crash-landed inside Sotheby’s clinically white gallery. The work is a 9-foot-high hollow cube - or “Kube,” as it’s titled - made of polished steel and glass, with two corners cut out and tipped on its side. It’s part of a larger exhibition featuring work by light and space artists such as Robert Irwin, Helen Pashgian, Mary Corse, Peter Alexander, Larry Bell, Gisela Colon and others. He created an immersive sculptural installation that goes on view Friday at Sotheby’s.
I see the light tangled vocal notes full#
Moretti, who accepted a Grammy with his bandmates earlier this year for rock album, is also a visual artist - he studied sculpture at State University of New York at New Paltz for three years before dropping out to pursue music full time.
0 kommentar(er)
