Immaculate seams on Geometric steel and wooden planes.
From Christopher Georgesco:
As a child I was already recognized for my art work -- my paintings lined the school halls and hung in the principal's office. My father an Internationally recognized Architect told me that if I stuck to my guns with art I would always be free.
I was lucky to know my path in life early on.
My father was also instrumental in exposing me to Modernism. He never spoke about himself but I learned the Modern style by watching.
In 1968, Minimalism was in vogue and I moved to Venice Beach -- a dominant West Coast art hub. “The Light and Space” and “Art and Technology Movements” were both pivotal in 1968, and with my aptitude toward Geometry and Sculpture, I began working in Abstract Minimalism.
Art had gotten as deceptively simple and I could only see moving outward with Outer Space and Infinity being prime factors in my work.
My sculpture always has been about the space that intersecting circles have in common, leaving the predominate portion of my work in outer space. Space is what I try to activate. Sometimes the sculptures cross the boundaries into anthropomorphic monoliths.
Recently I have been trying to activate inner and outer space simultaneously. Stainless Steel brought light into my work. When confronted with making decisions about my work the answer is always light.
I have also primarily worked with the rectangle, which I prefer over the square because of its elegant and elongated shape, as compared to the square.
Throughout my career I developed a series of shapes which which I use like an alphabet. They are interchangeable in position and transform from one shape to the next. This alphabet of formal division is still evolving today.
When building sculpture I know exactly where each piece fits. I use cardboard models to scale and refine my sculpture, a practice I learned working in the drafting room at my fathers architecture office.