and discovered that in this creation quality destroys the principle of arithmetic calculation, according to which two plus two is four. In qualimetry, 2 + 2 is more than four, since quality adds to quantity, and color, the field and the natural laws of physics have an influence on that quality. This forced me to establish a new structural theory of color (view image), a fundamental change that opens up new perspectives. Color is no longer a mere adjective, it is matter, it has shape. Everything is dialectical. My works are the result of scientific dialectics". During those days Raúl Lozza made modifications to the room where, not long before, the Concrete Art Movement had developed. On the fifth floor of the building at 1219 Cangallo Street, nowadays called Juan D, Perón, he built some small shelves where he placed empty containers of female cosmetic creams, which he filled with colors that he enumerated in their hundreds of shades. He classified 1230 colors, which he had meticulously 

prepared in his palette beforehand. Subsequently, he moved those colors to hundreds of small  wooden rectangular boxes selected  by number and chromatism.  Abraham Haber enthusiastically described such a display before his eyes: "it is a wonderful world of light," he said, "whose quality is expressed in a figure, in its qualimetry".
I remember Lozza surrounded by hundreds of papers filled with calculations, measuring angles and talking with enthusiasm about the rainbow, the spectrum of colors, and about Leonardo Da Vinci’s theories. He wrote and displayed straight lines that converged in one point and resulted in shapes that were "distorted" when the straight lines modified their course, changing shapes that through calculations also changed color. They comprised movable structures of excellence, synthesis of physical and mathematical laws that lead to different destinations where Lozza found, together with science, new values of beauty. It was a major discovery: concrete beauty. 
At last, he had found a new system in artistic experience and, from that moment on, he never stepped away from that path. 

Arturo M. Lozza (from the book "Dos + dos son más que cuatro"

 

CLOSE TO NATURE

"Never has man been closer to nature than now when he no longer tries to imitate in its appearance, but like nature itself, he is imitating it in the depth of its laws".

Vicente Huidobro - Creationist Poet - 1948

 

RAÚL LOZZA’S MANIFESTO - 1949

On the occasion of his first exhibition of Perceptive Art (concrete art) in the Van Riel Art Gallery: