For the last several years I have explored a new approach to creating fully dimensional sculptural works.  This approach is distinctly different from my relief works of the previous twenty years, though all my sculptures share an interest in using human information and mark-making to create implied surfaces. My current approach creates open-surfaced forms from protruding tactile cast bronze or aluminum shapes. The tactile shapes, colored dark with either patina or anodizing, are visually balanced with the open areas. They reveal the welded stainless steel structure of the crossing rods that deliver the graphic shapes to the surface of the forms.

The designs for my sculptures also reference mathematics and other archetypical forms. These sculptures are not solid forms, as they are each defined by an insubstantial, semi-transparent field of points. They are therefore the mere “ideas” of the forms, and serve as open metaphorical gestures. They are thus available for the viewer to interpret, upon which to project their own meaning. In addition to the originality of the overall design, passersby discover rhythms and morays in the sculpture. These unique pieces are visually interesting and conceptually intriguing, as substantive as they are transparent, as accessible as they are perplexing.

My current series of drawings, Flawed Nets & Circuits, creates graphic patterns of points connected by lines, using gouache paint on paper.  I subject these layered surfaces to the corrosive abrasiveness of an industrial sandblaster. The sandblasting introduces a substantial serendipitous factor, which produces rich surfaces and propels the paintings into new physical and compositional territory. My designs often build flaws into the sequences of lines and points. While these flaws are often repaired with subsequent layers, I do so in obvious, non-contiguous ways. Though the repairs introduce complimentary varied information to the composition, they also suggest that the repair can be worse than the original flaw in the net or circuit.

Gregory Miguel Gómez