Alexander Wagner

Wagner’s operas, abstract but extremely communicative, alternate in a contradiction expressed on the surface, (1978) dry and ambitious, abstract and imperfect. His preferred media are paper and wall, where he transposes the idea of traditional technique using printed surfaces and spray paint. A stratification of vibrant layers codifies a complex analytical listing and opens up the understanding to an abstract narrative. Wagner relates to the harshness of the Sicilian environment and the evidence with which nature manifests itself in it, through its peculiar process of reduction to elementary forms. The strong and abstract light of Agrigento meets with his compositions. The result is a discovery of abstraction in the landscape and the upheaval of geometry in the spontaneity of forms taken directly from nature.