milan

Elisabetta di Maggio

Viafarini DOCVA

The work of Elisabetta di Maggio is materially slight, not only because her chosen material is tissue paper, but also because she treats space and time as impalpable categories. Here, even a barrier closing off the passage between the two gallery spaces—Senza titolo (Untitled), 2005—was nothing more than a double wall of tissue paper, two thin sheets with a small gap between them. These had been perforated with a scalpel, pricked with patterns like those of old embroidery. Light and projected shadows filtered through, and, depending on the point from which one viewed it, the curtain acquired greater or lesser depth and luminosity. The “drawings” on the two sheets were perfectly superimposed in some places, while in others the patterns were displaced and layered. The result was a sort of insubstantial and diaphanous architecture of light and shadow, a wall from which materiality had been

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