Marco Maggi's intricate drawings demand time - time to make, and time to see. Working with modest materials like graphite, X-acto knives, Claybord, Plexiglas, office paper, or aluminum foil, he cuts, draws or etches tiny, abstract lines that incite interpretation but artfully elude it. His works have been compared to microchips, maps, hieroglyphics, or genetic codes. Their diminutive scale requires close-up inspection and time for the eye to adjust to their meticulous details.

Maggi combines his various two and three-dimensional drawings into large-scale installations that one navigates like a treasure hunt. Works are installed at unusual angles, heights, and locations, so that each feels like a discovery. Some pieces, such as those with incisions on paper or Plexiglas, are virtually absent - only visible by the shadows they cast.

Maggi likens his linear lexicon to an indecipherable language or abstract alphabet. While the drawings themselves evade meaning, their witty, punning titles reveal layers of references, from the framing of news coverage to the latest scientific discoveries. Executed on a scale that, to really see, requires time and minimizes distance, Maggi's work functions as an antidote to the excess of information transmitted through ever more intricate and rapid networks of media and telecommunications.

Global Myopia (Utah Street), 2012

Silver Line, 2009

Hypo Real, 2009

Drop (detail), 2009

GooglePlexi, 2009

Waiting for the Drawing, (detail), 1999

Square Pencil, 2009

Blind Slide [detail of Braille Wall], 2009


Complete Coverage on Mondrian (Diamond), 2006

exPECTACLE, Hosfelt Gallery, 2003

Braille Wall, 2009

exPECTACLE, Hosfelt Gallery, 2003

Kitchen Slides, 2002

The Ted Turner Collection (Paper on Uccello), 2004

Kodak Circle , 2009