Echo Series (E) 01 - 21

Drawings from Echo Gambit

In this series, shards of entropic debris combust from the crown of a tree stump (Versus) and disperse in the atmosphere (Polygone); resonate with ‘big bang’ theory to the release of mere pollen or dust particles from the philapores’ wings. The Echo Gambit is about the relationship between the couple, and how they connect through nature. If, in this dichotomy, one thinks of Frankenstein, then the echo gambit in many ways is the echo that we are creating on the world, similar to the pastiched monster. The gambit is the necessary, but a questioned sacrifice - a reconciliation of sorts of the body and spirit, a disintegration of the two. This romantic, yet doomed allegory echoes the Garden of Eden and the Bible’s Creation story, particularly in the lovers’ final demise following a gambit taken in order to secure their offspring and thereby return to the origin of the story in the previous millennium.

All drawings are 2006 to present day, ink and graphite on paper, 22 3/8 x 37 3/8 inches.

‘After the Woods’ is an epic narrative set in an alternative universe. Taking the act of consummation as its point of departure, two tragic lovers are separated and transported into a wooded realm, to live a parallel destiny. Situated within polar hemispheres, Versus (the Knight) and Polygon (the Princess) attempt to communicate to each other with the help of their natural habitat, particularly the exotic birds or ‘Philapores’ (love of pores). This romantic, yet doomed allegory echoes the Garden of Eden and the Bible’s Creation story, particularly in the lovers’ final demise following a gambit taken in order to secure their offspring and thereby return to the origin of the story in the previous millennium.

As Caivano explains, "The ‘echo gambit’ is about the relationship between people and nature. If, in this dichotomy, one thinks of Frankenstein, then the echo gambit in many ways is the echo that we are creating on the world, similar to the pastiched monster. The gambit is the necessary, but a questioned sacrifice - a reconciliation of sorts of the body and spirit, a disintegration of the two”. 

By absorbing numerous references from archaic folklore, medieval fairytales, Renaissance literature to fractal geometry or more contemporary discoveries in nanotechnology, ecology and the greater cosmos, Caivano creates a metaphor of human progress. His installation of over seventy drawings and paintings is not presented according to series or scale, but positioned to surround the viewer, like control room or hub to Caivano’s Odyssey.

For this exhibition, Caivano concentrates on the final impact of Polygon’s transcendence as a spaceship into a future, leaving a diffusion of ‘matter’ that straddles a space and time continuum. ‘Landings’ charts the centrifugal ascent of Polygon in an elaborate geometrical star system. The triptych ‘Assembly (Once Was Upon A Time)’ suspends a horizon of particles that appear infinite to the eye and once further away, at a point of dissolution. 

Three series of drawings dominate the show: the ‘Echo’ drawings are identifiable from the ‘big bang’ theory to the release of mere pollen or dust particles from the philapores’ wings. In the ‘Gambit’ series, shards of entropic debris combust from the crown of a tree stump and disperse in the atmosphere. Long beams of prismatic  ‘Chroma Transmissions’ radiate coded messages between the lovers. Selections of small studies illustrate isolated elements from the story including extinct species of flora or elaborate plumage of the philapores. As with all of Caivano’s drawings there is a precision of line, formal beauty and detailed rendering that correlates with the naturalism of Albrecht Dürer’s drawings and the illustrations of Aubrey Beardsley.