In addition to the materials’ inherent properties, Rettig’s own sensibilities and personal history also find expression in the general look of his finished pieces. As a beginning artist Rettig was drawn to contorting the interior polyester film—which finds natural expression in looping, circular shapes—into biomorphic forms. His inclination for the organic, the cellular, the sensual, and the bodily is unsurprising given his love for the natural world and its place in his daily life. He has since explored these motifs deeply and comprehensively, and yet each work presents unfailingly original results. With respect to his artistic vision, Rettig explains:
“Within my terrain I see cross sections of cross sections, unnatural confluences, unnavigable borders, unrestricted constriction and breath-like expansion. Especially with plantlike forms I see what I can best describe as the invisibly visible, out of reach, out of context, infinitely reproducing, raised round. And then on occasion I imagine how bits and pieces of these biomorphic forms mesh together and produce landscapes unnatural yet natural at the same time. The process is a slow unfurling, like a fern.”
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