|
World of stone, metal and clay is the one of Sairi Forsman, deeply rooted in myths of origin, in the remembrance of anguished dreams and trembling memories, safe-conduct of ancient ghosts. Nerve, when it comes to the shine and turgid of the rough surface, tamed and submitted by the hands of its (his?) creator. Strength and tension are crystallized in the dance, captive movement but at the same time a movement that is liberated by the rhythm and the capture of the instant of a distended and gravid leg that is elevating, of hands that are probably moved by a gentle austral breeze, of a head enraptured by the deceptive illusion of the satisfied desire… Mihuani, neglected cannibal, exquisite cannibal pierced by a gaunt refinement, his back, a hole, in the center of infinite emptiness of his own defenselessness, predecessor of a group of dancers (Au Prin-Temps), spring-time of humanity, suspended by the ecstasy of a mystical-erotic experience that precipitates them. Persevering hands of neglect hollowing out the sex with immense pity, arms- curved lines of a non-existing but yearned crucifixion, face turned towards impossible eternity. Ritual dance, collective and lonely, driven by the certainty of impossibility that is followed by horizontal statism, perfection reached in the dog-man (No Moon), rising his face in an inclement darkness to which a selfish moon has him exposed or in the rib cage of a man-bird holding his own emptiness, osseous chrysalid where he is emerging, mute scream, once again, the face of desolation, covered instead, by the mask of Dionysius, deceitful seducer, professional dancer, light in nature, allied to Eros and Tanatos, but a traitor to both of them. Loneliness and movement, the result of untying previous knots where jamming appears with the perception of those previously mentioned original myths: the woman tangled up with the serpent-satyr in a non-distinguishable merge of bodies (Temptation), the twins devouring each other in their non-fragmentary union (Transferences I and II), mother and son in their incestuous impossibility to separate (Pieta and Oedipus and Yocasta), the father asserting his power before his son, not being able to eat him or to set him free (The Angry God), the bull and the lady (In the Beginning) or the chess’ horse and queen (King’s Horse Takes the Queen) in amazing copulation, clotted in the stupor of a painful and ecstatic orgasm that shimmers between the bronze patinas and the silver of the chess board squared with a rough texture. Expression, volume, hollow, suspended space on immense void of neo-expressionist desolation with a Nordic stamp. Bodies in tension, knots tied with two bodies or one tied in itself (Nostalgic Bull, Fantasy I), myths with a new form given by the rescue of an original anguish, of mystery, of not knowing but experiencing, myths that suffer an eloquent transmutation, significant materialization, set of opacities and transparencies. For Sairi Forsman making up fables is essential, not as a speculum reflection of realist overtones, it is fable-text, text-knit, text-texture, as a result of the disposition and obedience imposed on the first materials (clay, wax, plaster) delicately and passionately tamed by the softness of the sculptor’s fingers, finished afterwards in bronze, silver, stone and terra-cotta. Sculptor’s patient trade, slow figuration, difficult, testimony of life as art and tragedy, all in one movement where it becomes impossible to separate the hands from the body and from the materials, where inside is outside and outside is inside. History and form become a single one, to narrate in abstinence of words the untold mystery of life as ambivalence: terror-desire, solitude deceived by a lethal force of symbiosis, distension-knot… Sairi’s proposal does not rest on the imprisonment of opposition, nor is it an accomplice of the concept of causality, it belongs to a primitive register settled on the Greek “chora”, that is beyond the law, beyond norms (dictated by the “normal” and normative), the consent of that which is forbidden in the body and by the body, prohibition that is somehow handled by a mythological background. It is then, that which is referred as the “Ur”, the source (origin?), that which in the beginning was, but still is. That is the reason why her world is peopled with semi-humans, beasts, tragic characters, incest, punitive torments, Dionysiac ritual dances, silenced screams like the ones from nightmares, laments, nostalgia, longing, melancholy, solitude. Facing the experience of void (emptiness?) and nonconformity are her main characters, but at the same time they are situated in those ecstatic attitudes produced by pleasure and by the inexhaustible supplier of non redemption, precipitated because of this, into unbeatable guilt and pain. Contorted feet, hands, mouths emphasize the entwined tension of a current mannerism, echo of today’s scenery. Because of all of this, to get into this current “arque” which is significant and sinister, it turns out to be terrible, seductive, marvelous, defying and shuddering. |
|
S A I R I F O R S M A N |
|
A R T E S D E M E X I C O |