Smoke, Distorted

Los Angeles, California.


A grid represents an opportunity for global distortions to be executed within a controlled framework. This provides the boundaries and limitations that result in a product that is innately controlled and considered in its intentions. The analysis of Tony Smith’s sculpture, Smoke (1976), revealed a three dimensional hexagonal network composed of tetrahedral vertices linked by elongated octahedrons. Working within the limitations provided by this network, systematic distortions were applied in an attempt to invert the open spatial quality of the framework into an enclosed system of interlocking volumes. The final form is the product of serial alterations; each successively changing the position of the vertices and extending opposing faces of select octahedrons into planar forms. Each alteration was applied discriminately to create a product with variable density and tectonic scale. Adherence to the inherent limitations of the hexagonal grid and the geometric constitution of Tony Smith’s sculpture preserve a tangible relationship to the original form despite the magnitude of the distortions.

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