Every period can be viewed from the particular angle of the issues pertaining to the gaze that it brought to bear the world within where it occurred. On the basis of these questions it conceived, posited, debated or wagered its intelligible approaches to things.
Some got lost tin all this, others, as curious, knowledgeable, poetic, intuitive or methodical explorers, were able to map out possible routes and itineraries whitch became open to athers, similar ambitions.
From these visions language propositions stemmed (whether scientific, literary or artistic), whereby people conceived or even initiated the approaches to this particular entity that constitute our common memory.
The body was, from the start, posited as a tool of intelligibility. If only because it was the physiological base of this thought. They enabled the first perigrinations. Until the limits drove the instable observer of beings and things to extend then (in their principles of displacement, manipulation or observation).
The eye, for example, thus became free and managed to enter new territories, even though these were supposed to be inaccessible, using artifices to extend its range (magnifying glass, telescope, microscope). Everything seemed clearer and everything imediately seemed more complex ; This was the case with Needham’s strips. Charpak’s chamber. And Alexandra Sà ‘strips ans shelves. Because whatever you do, everything is turbulent and simmering. Constantly. The great whole is shaken by vibrations that undermine certainties, opening, as best- and all things considered, indeed, it is for the best- onto a « tremulous meaning ». So what a pleasure it is to see this vibrant finesse at work in Alexandra Sà’s work. She is doing the work of art.