This exhibition is inspired by the concept of Cosmogony from the analysis of Petite Cosmogonie Portative by Raymond Queneau and Cosmicomiche of Italo Calvino, in relation to Albrecht Dürer woodcut Man drawing a reclining woman, which is also the cover text of Palomar by Italo Calvino.
Dürer’s woodcut becomes a metaphor for every Man’s sight: He requires a tool to frame the reality in order to comprehend it, exactly as the Artist needs a grid to understand and bidimensionally represent the tridimensionality of reality. Albrecht Dürer’s woodcut forestalls the modernist grid of Rosalind Krauss, which instead removes every external model, leaving the artist blind and relying exclusively on language and gestures.
For his second solo show Erik Saglia moves from these considerations, proposing an installation, made with his renowned technique, focused on the concept of Cosmogony. The result of the entire installation becomes a Cosmogony of signs and intersecting lines, of vectorial axes, of organized schemes of an unorganized reality, where the intersection of the abscissa and the ordinate organizes the vision of both the Artist and the Man.
The installation obliges the visitor to contemplate it; exactly as it happens while observing the sky and the cosmos with a telescope, Saglia’s Art is a full-size Portable Cosmogony, because it can be carried “within us”.
