In the same important year as Sissi won the contest announced by Comune di Milano and supported by Fondazione Deloitte for the creation of a monument dedicated to Margherita Hack - now standing in front of Università Statale in Milan - Maggiore g.a.m. presents her awaited personal exhibition with a series of unreleased works.«The exhibition name Trasguardi is a word I created to level weft and gaze, an eternal drive both in being and weaving» Sissi says, highlighting how in these works her "emotional anatomy" investigates identities in social and emotional interactions, in a metaphor of what is existing. Sissi's work intersects with her research of multifaceted identity, just like fabric threads intertwine in these works, suggesting faces with traits difficult to recognize, but full of emotional expressions and deep subconscious looks. Drawing using threads needs time and contemplation, but it points out the creative process: a making process that is life's expression, a process that intertwines all faceted actions and experiences that we all live.
Trasguardi is the title of Sissi's latest production, exhibited at Maggiore g.a.m. historical venue in Bologna, where a series of works made in mixed materials and crossed by cotton and polyester threads weaving and knotting are displayed. A white matt ceramic shell supports the weft, and framing the work it becomes a bone structure aimed to support the piece, woven by stretched threads like tendons that remind of muscle bands in an anatomic system able to generate texture. Their goal is to replicate human expression as a weaving, but not only that. As a result of the digital takeover on analogic ways in our everyday life, just like in a net, those warpings invite to think about the contrast between today's typical speed pushed by advanced technologies and slow timing typical of the ancient art of weaving, made possible only by human manual abilities. The weaving technique makes the drawing more rational, creating geometrical areas of colors and broken lines, with an accuracy opposing to the free and distorted handmade shell shape. The result is a picture gallery of portraits aimed to show a multifaceted identity, a web of pictures that shows a society full of emotional interactions. The characters that appear melt away within the spots, transforming the few anatomical details in knotted signs or highlighting non conventional smiles that want to explore the inner world, which is Sissi's constant interest in her artistic research.
Such research articulates through a language that taps into the scientific world as well as a personal and intimate one. The starting points for her works are the thought on the body, that through a comparison with the encyclopedic model reinterprets anatomy as a metaphor of the living, and an emotional data, that the artist wants to shape and move into the matter she works with. Starting from the action of performance, the artist investigates subjectivity and social and emotional body construction in an "emotional anatomy" involving the constant testing on different artistic levels: performance results in a materic gesture that embodies in sculptures, installations, drawings, paintings and photographs. The artist reshapes and remodulates materials, techniques, languages, meanings and shapes, through a personal system of visual and literary codes that renews everday life interpretation in taxonomic conditions.
With her works Sissi intends to show that everything goes through growing and movement processes since its origins. It's a life process that in her vision is held together by knotting, through which shapes join and create bonds, continuous entanglements.
