Inside The Light
Text by by Lorenzo Poggiali
Chalk is chosen in Sciascia's paintings, although it could be any other art object instead of a painting, because like felt it is a dynamic material, it is connected with the rhythm of the unspent temporality of a process that proceeds in stages: qualifying the conceptual nature of painting through materials and narrative choices is a "coincident parallelism", a challenge that is cast down. The suspension of the installations that we find in this show, the temporality marked out by light determined by frequency and wavelength, which is the passage of atoms in a period of time, the unresolved identity and the lesson of Beuys, whom Sciascia for example adores, depict part of the ring, linked to the chain of the contemporary flow, to which this Como two man show refers.
The instability that we have arrived at, the fragility of the human being, the shapes that it has given over time to elements that could safeguard the precariousness of earthly life - as we have seen starting from the funerary monuments through to following a chain that brings us face to face with the installation medium - defines the space in which this show is to be placed. . .
Both artists implement practices that define their relations with the contemporary debate through interesting planes of reading: they appear to be interested in the way the work pursues itself through space, starting from a profane sacredness to arrive at one in the true sense, which finds a point of encounter in the very title: Ex Voto.
Ex Voto is the grace received: patients suffering from cancer, but alive; the light is focal to Sciascia's poetics as the very embodiment of salvation.
