Estudio sobre triángulo. Daniela Libertad. 

By Leslie Moody Castro. April 2016

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By definition, a triangle is composed of three straight sides and three angles. It is a simple enough concept, where these three lines and angles together in collaboration create the ubiquitous three sided shape we see and call a triangle. It is, however,  a much more complex system that resides with spatial relationships so subtle and poetic that its power functions within a subversive foundation for its own shape and form.

 

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For one month our attention has been attuned to the triangle. We see them everywhere and nowhere. We see them deconstructed, reconstructed, existing in space both imaginary and real, in time that ebbs and flows between the present and the future. In each potential line I see the potential of a triangle. With each line exists the potential to have two breaking angles within itself created by any random force of nature. Or perhaps this random force of nature also offers two other intersecting lines, creating the singular moment through which the three lines transform themselves into the single solitary shape of a triangle. I am looking at the blue pen resting on top of the corner of a sheet of paper, that rests on top of my desk. Here are two layers of triangles, angles and lines, two random triangles with six random angles piled arbitrarily on top of one another, waiting for the next movement to relieve their tension as they convert into something else entirely. There is a conflict immediately before the moment where a single line breaks then falls with the weight of its own gravity, connecting two lines together at a third point. The angles become built upon this singular moment of conflict and the triangle is just as dependent on these angles as it is the single solitary line that was broken. The triangle cannot exist without the conflict between the line and the angle.

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There were three small rectangular blocks that rested on the floor of the studio one on top of the other. Three rectangular lines that defined themselves as such resting in the middle of the floor and making their own sculptural form that was built up from the floor vertically, projecting up and into the space. They were given a momentary identity of three lines to make a sculpture, and as such they rested quietly on the floor. The first visitor walked into the studio, oblivious of  their presence. Their heel hit the small stack and knocked them over. The identity of the rectangular blocks shifted, and individually each rectangular block fell from one onto the next, accidentally forming an irregular triangle. The three rectangular blocks assumed a second identity and rested on the floor as such. The story repeated itself with visitor two, and three, and four and so on, until the identity of the three rectangular blocks became fluid and changing. These three rectangular blocks that sat on the floor of a studio assumed the identity of a microcosmic study in and of itself of the changing nature, the various iterations, the construction and reconstruction of a triangle.

                                       

  Leslie Moody Castro . April 2016 . Austin TX