Planar Series No. 7/9, graphite on paper, 30 x 22", 2017

As a young boy, I often imagined a line extending perpendicular from my direction of travel, going all the way around the planet and coming back perpendicularly to my other side, creating a giant ring around the globe, a Great Circle in the parlance of geometry, and, by definition, always concentric with the earth. Part of the excitement was to imagine the ring in its entirety and to go further and imagine that this Great Circle was attached to me, was me, and would move effortlessly with me, around and around our planet, hugging the surface of the earth in whatever way I could imagine. What it saw, I saw – what it felt, I felt – what it experienced, I experienced the same.

I varied the properties of this line by imagining it as different fantasy materials of varying thicknesses and flexibilities – so, I determined when it remained ridged, ignoring all the complexity of the planet and sweeping out perfect arcs of perfect circles and shaving the globe to a perfect sphere; or, I would loosen it up so it moved over only a specific topology like the hard earth crust or then include other objects and mold itself around just animals, or just people, just trees, plants, insects, just homes, buildings, structures; or, I’d make it so thin, so malleable that it conformed to different degrees of detail, zipping over complicated surfaces, effortlessly, conforming to every nook and crag, every flake, scale and leaf, every pebble, glop and glump, tuft, tassel and clump, every marble or toy, every detail and deeper, deeper detail still, sometimes skimming over water, sometimes conforming to every ripple, sometimes hugging the land and descending to the bottom of every depression, every lake, ocean and stream, every pool, every puddle, every bowl of soup, every cup of hot chocolate, every glass half empty or glass half full. As a boy, I figured that in principle my line could even conform down to the microscopic level, and this made me dizzy, as did interior spaces – they were difficult to imagine, too. Nevertheless, even knowing this abstract geometry existed and as I played to maintain harmonious and fluid motion between my mind and The Great Circle, I imagined being everywhere, always, at the same time: a total impossibility, and fun while it lasted, because …
 

Planar Series No. 1/9, graphite on paper, 30 x 22", 2017

By the age of 12 or so, I forgot about this thought exercise, this fantasy really, and moved on: life demanded it. Life got more complicated, thinking complex – strategic designs varied with more teachers, more rules, more guidance; more religion, more grist for agreement and quests for influence, more ideology, more ingredience. Yet, my ability for abstraction both grew and became more focused, more refined. I mean: ‘x’ taking the place of a number in an equation is quite abstract; the tangent of ‘x’ even more so. In short, life and school and communication got more specific in its content and demanding in the way one must engage – and thinking about what was in my immediate purlieu began to dominate.

This Great Circle, this thought experiment, represents a framework of wonder and inquiry of a young boy, a method of investigation, a mode of thinking about his surroundings, an epistemological stance, if you will. I am now using a different method that includes a visual and physical manipulation of material, which marries this curiosity of the boy with all that he was taught and with all that he experienced along with the specific theme of breaking and placing stone, its movement and action, their opposites and the many gradations in between – which now serves as my present framework of discovery and of wonder and inquiry about the act of creation.

​Samuel Nigro, 2015

Planar Series No. 8/9, graphite on paper, 30 x 22", 2017