Loris Cecchini Molds the Industrial into the Natural
Loris Cecchini creates undulating, three-dimensional works that at first glance appear to be abstract, minimalist gestures, but are actually reflections of forms and processes found in nature. In “Emotional Diagrams and Other Micrologies,” his first solo exhibition at Leila Heller Gallery in New York, Cecchini pulls together the realms of science and art to develop a series of works that illustrate nature’s profound mathematical foundation—occurrences such as fractals, crystallization, and waveforms—and relate them to human emotional and biological impulses.
Cecchini begins his process with a series of watercolors or small 3D models, which are then developed into larger pieces in a diverse set of media. The artist’s role is emphasized by the chosen industrial and synthetic materials, from chain-like steel modules that resemble the petals of a growing plant in The Ineffable gardener and inherent transience (2013), to the “Wallvave vibration” series, in which poly resin and paint are used to build out gallery walls that echo the pattern of liquid responding to electromagnetic waves. This new exhibition revolves around moments in nature that have an instinctive aesthetic value that results from the human attraction to symmetry and pattern.
Beauty is found here in the emotions attached to the sublime, as found in natural forms, or in the response to music, scientific discovery, or poetry, a concept echoed by Cecchini’s choice of all-embracing subject matter: Take the work Hypermeasures for a vertical orchestra (2015), in which a plant form is given a musical identity, or Trisphere Ultrastructure (Heart) (2015), a human heart built up from molecule-like forms. Cecchini values shared appreciations, both sacred and secular, and pulls them into his works, directing our attention towards that which often goes unseen.