"SUPRA muro" consists primarily of works made of the tiniest hand-cut paper shapes that cluster, fold, curl, stack and bend, encrusting all sorts of surfaces, including the very walls of the gallery.
For twenty years, Maggi has considered – then elegantly answered – the question of how to take drawing from two into three dimensions. He has drawn in relief on aluminum foil, carved everyday objects like rulers or apples with his abstracted lexicon, and inscribed plexiglass to create drawings that are only visible when they cast a shadow.
The forms suggest meaning – alphabets of unknown languages, computer circuitry, Google Earth imaging of vaguely familiar cities – but no matter how much you puzzle over them, the shapes are inexplicable.
Viewers are compelled to move close, slow down, stand on tiptoe, look obliquely, even crawl around on the ground in an effort to make sense of these encryptions. And in so doing, they physically act out Maggi’s metaphor for understanding: you must change perspective – see things from another point-of-view – in order to find meaning.
While Maggi’s visual vocabulary evades certitude, his titles — referring to technology, geopolitics and cultural history — offer clues to his messages. A philosopher-poet of non-representational drawing, Maggi says of his work, “Focus is not the object or the subject, but the time between the object and the viewer. I am interested in the pace of the viewing process.”