The concept of Cosmogony inspired this exhibition. Analyzing the “Petite Cosmogonie Portative” by Raymond Queneau and Italo Calvino’s “Cosmicomiche” in relation to Albrecht Dürer’s woodcut “Man drawing a reclining woman”, which happens to be the cover of “Palomar” by Calvino, one thing became clear to the artist: Dürer’s woodcut represents a metaphor of every Man’s vision. A tool is required to frame reality to comprehend it, exactly as the Painter needs the grid to understand and to bi-dimensionally represent the tridimensionality of the real world. Albrecht Dürer’s woodcut anticipates Rosalind Krauss’s modernist grid. The latter removes every external model, blindsiding the artist who has to rely exclusively on language and gestures.
Erik Saglia takes on these considerations for his second solo show to propose an installation, made with his renowned technique. As the result, the entire installation is 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 visitor is compelled to contemplate it exactly as it happens while observing the cosmos through a telescope. Saglia’s Art is a full-size Portable Cosmogony because it can be carried “within us”.