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Oftentimes, when I text or call SAGG Napoli, she will reply saying she is at archery training, or on her way to it. Her communication of a boundary of time and space is gentle yet clear. Shooting arrows at a target requires solitary, undivided focus that does not come easy, nor free. In naming it as a threshold she steps into, she gives it a form that others can pay attention to and engage with. For her solo show Sempre contratta at Basement Roma, SAGG Napoli builds the architectural dimension and physical apparatus of an exercise area into the gallery. Lilac tones envelope the routines and instruments that make up and inform SAGG’s archery preparation – the table to assemble her bow, the storage space where she keeps her arrows, her uniforms, annotations on a whiteboard, and three years of archery competitions award medals.
A new series of artist’s portraits in different media punctuates the space. At the back, SAGG’s body is drawn over three anatomical maps – mappe del dolore, “maps…
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Oftentimes, when I text or call SAGG Napoli, she will reply saying she is at archery training, or on her way to it. Her communication of a boundary of time and space is gentle yet clear. Shooting arrows at a target requires solitary, undivided focus that does not come easy, nor free. In naming it as a threshold she steps into, she gives it a form that others can pay attention to and engage with. For her solo show Sempre contratta at Basement Roma, SAGG Napoli builds the architectural dimension and physical apparatus of an exercise area into the gallery. Lilac tones envelope the routines and instruments that make up and inform SAGG’s archery preparation – the table to assemble her bow, the storage space where she keeps her arrows, her uniforms, annotations on a whiteboard, and three years of archery competitions award medals.
A new series of artist’s portraits in different media punctuates the space. At the back, SAGG’s body is drawn over three anatomical maps – mappe del dolore, “maps…
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