The evolution from abstract to concrete, no longer based on external perceptions but rather on shapes and colors generated through pure mental speculation and technical experimentation, took place around 1947-1948, when Moretti transformed from an imitator to a creator of art. “After the turmoil of war, there was a deep desire to move towards something that would free us from that state, to connect with the essence of things, the relationship with the cosmos, what was known as geometry, harmonious relationships. At that moment, I truly felt the urge to overcome this tragedy and start anew from what could form the foundation of a new artistic expression.”
Moretti does not reject nature, but rather examines it beneath the surface to capture its essence, “the unchangeable” that exists outside of time. “While nature is regulated by strict geometric rules, it also displays fluctuations in the creative process. Natural shapes deviate from their theoretical model. These deviations are the mark of life and the reason for the beauty of the form in which it reveals itself.”
In line with the zeitgeist of his time, Moretti aligns himself with the abstract art practices in Florence and the proponents of the Concrete Art Movement in Milan. He takes part in various exhibitions with them between 1951 and 1957, showcasing his works such as Perspective, Dynamic Composition, Poiesis, and Idol.
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