The end result of all this is the creation within the matrix of a number of sculptural shapes, curves, voids, or any other combination of these forms. As one walks around the sculpture, each change in angle or view turns the appearance of the sculpture, sculptural shape into something as if suspended in space, into shimmering interference.
The concept of four-dimensional space, as it had been discussed in a book by P. D. Ouspensky, was the trigger that fueled Alexander’s need to create a new type of artwork. Along with the design and structure of the artworks, there were also integral elements of philosophy and visual perception.
For Alexander, what seemed to matter was not the technical success of his four-dimensional sculptures but rather the technical implications. His search for the fourth dimension was for something immaterial, an absence rather than a presence. His 4-D sculptures were a break with the past…once again, something conceptual, something experimental.
These shapes are created because the human eye joins all the points at which there is a color change and forms a curved surface. Each change in angle or view will transmogrify the image in an ever-changing amorphous manner
FourDimentional Sculptures
A 4D Structure
Painted wire mesh model
6’x18’x18’, 1984
Another View of A 4D Structure
Painted wire mesh model
6’x18’x18’, 1984
Cathedral
Maquette of painted rods on wood base
11’x18’x13,5’ 1982
Fragment of Four-Dimensional world
Maquette of painted steel rods on wood base
10,75’x19’x15’ 1981
War Into Peace
Painted Barbed Wire model
17’x24’x22’, 1983
National Museum of Chile
Inner Voids
Maquette of painted rods on wood base
10,75’x18’x13’ 1982
Carousel
Maquette of painted rods on wood base
10,75’x12’x12’ 1981
Vortex
Maquette of painted rods on aluminum base
5’x11’x9,5’ 1984
First Movement
Maquette of painted steel rods on wood base
9,5’x13’x10’, 1981
Seventh Movement
Maquette of painted rods on aluminum base
7’x9,25’x6’, 1983
War Into Peace 2
Painted Barbed Wire model
14’x13’x12’ 1983
