News, Francia, Nice, 17 September 2011
Nothing is certain. Even as we progress among the most varied disciplines of science and technology, the possibilities are presented in a way that give you vertigo. The world has become more and more uncertain. This is a paradox: our knowledge is immense but we cannot easily separate ourselves from the idea that we know almost nothing. Many great minds are stumped by these questions using the vocabulary of their disciplines. But artists also do this with other tools, and other visions which often are most disconcerting to us. It is that art differentiates itself from intellectual speculation by the fact that it creates another object. The object in itself, the reality of thinking, of interpreting, of placing within context stays the same but the creative act gives birth to a work which more than a mere discourse is another world, a new world. This is unexpected, one must say. The artist must astound. And thus it isn’t that he opens himself to uncertainty but opens himself up to a profusion of possibilities, a permeability that is more and more susceptible to interpretation.
Sara Stites and Monika Grycko practice this abandonment. This function of clarification, this advanced sentinel with advanced perception. The American from Miami as well as the Polish woman from Faenza behave partly from the premise not of commenting but by staging those things in the world which seem anarchistic proliferations of hypotheses. Unnerving recombinations, hazardous redistributions monstrous stirrings and unions, apochalyptical visual metastasis . We dream of science and technology but we also dream of the economy, finance and aesthetics. And , of course, of the natural world. Nothing is certain, nothing is foreseeable. This is what they tell us. This is what Sara Stites and Monika Grycko represent. There is nothing gratuitous. There is no unfounded fantasy or simplistic desire that shocks . On the contrary, the work is infused with gravitas. Sara Stites’ work is not just crazy dolls fashioned by a demented child. recompositions of pieces and appendages, of excrements and fragments of bodies contorted and reorganized into improbable lives. Certainly it is pertinent to talk about genetic manipulations “artistico/genetics”, and it is also true that several of her designs could at first look resemble debauched unification of opposites (the organics and nonorganics, the bizarre and the beautiful, the innocence and the sensual) .
What we see in this work, is much more complex is revealed upon reflection. If it is a question of the unthinkable by Sara Stites it’s not the only reason that she gives us to look at her paper in the frame but that which is suggested therein, the suggestion that we are obligated willy nilly of the multiple movements of the surprising and the real.
The unusual today is the habitual of tomorrow. We are troubled and it is legitimate. And we are troubled equally by the creatures of Monica Grycko although smooth and serene. They look at us and don’t look at us. In effect, they look at us from far away like the sphinx carrying secrets, contemplating the unknown future, halfway infused in a pantheon of femininity, they give us to understand the paradoxes that we must remember: the first divinities, were they not animals or females? Not menacing. Must we always dream of reconciliation with the gods? They are inoffensive, in effect the female monkey cannot pacify us in the reconciliation with herself. And, parallel, the woman with multiple breasts toward which the fawn twists his elegant neck, is the nourishing earth the mother of origins, the all powerful and generous, the prodigious woman who assures us of the bounty of the future. Like in Sara Stites’ work, there is a strong dramatic tonality and a taste to push the limits, an intensity and a challenge of boundaries.
Out of this, a space is opened further than the constraints of a rigid rationalism. This is what the two artists explore, each in her own way. And where they meet and play off each other and communicate with each other. What is happening to the world? What is happening to the body? Sara Stites and Monica Grycko are united during this exhibition in a reflection of plastic audacity within the context of contemporary interrogation about the future of the living. “Write about what you have seen, about what is, and about what must arrive as a result.” – this is what is said in Appocalypse 1,3. One can replace the word “written” by “represented”.
Sara Stites and Monika Grycko practice this abandonment. This function of clarification, this advanced sentinel with advanced perception. The American from Miami as well as the Polish woman from Faenza behave partly from the premise not of commenting but by staging those things in the world which seem anarchistic proliferations of hypotheses. Unnerving recombinations, hazardous redistributions monstrous stirrings and unions, apochalyptical visual metastasis . We dream of science and technology but we also dream of the economy, finance and aesthetics. And , of course, of the natural world. Nothing is certain, nothing is foreseeable. This is what they tell us. This is what Sara Stites and Monika Grycko represent. There is nothing gratuitous. There is no unfounded fantasy or simplistic desire that shocks . On the contrary, the work is infused with gravitas. Sara Stites’ work is not just crazy dolls fashioned by a demented child. recompositions of pieces and appendages, of excrements and fragments of bodies contorted and reorganized into improbable lives. Certainly it is pertinent to talk about genetic manipulations “artistico/genetics”, and it is also true that several of her designs could at first look resemble debauched unification of opposites (the organics and nonorganics, the bizarre and the beautiful, the innocence and the sensual) .
What we see in this work, is much more complex is revealed upon reflection. If it is a question of the unthinkable by Sara Stites it’s not the only reason that she gives us to look at her paper in the frame but that which is suggested therein, the suggestion that we are obligated willy nilly of the multiple movements of the surprising and the real.
The unusual today is the habitual of tomorrow. We are troubled and it is legitimate. And we are troubled equally by the creatures of Monica Grycko although smooth and serene. They look at us and don’t look at us. In effect, they look at us from far away like the sphinx carrying secrets, contemplating the unknown future, halfway infused in a pantheon of femininity, they give us to understand the paradoxes that we must remember: the first divinities, were they not animals or females? Not menacing. Must we always dream of reconciliation with the gods? They are inoffensive, in effect the female monkey cannot pacify us in the reconciliation with herself. And, parallel, the woman with multiple breasts toward which the fawn twists his elegant neck, is the nourishing earth the mother of origins, the all powerful and generous, the prodigious woman who assures us of the bounty of the future. Like in Sara Stites’ work, there is a strong dramatic tonality and a taste to push the limits, an intensity and a challenge of boundaries.
Out of this, a space is opened further than the constraints of a rigid rationalism. This is what the two artists explore, each in her own way. And where they meet and play off each other and communicate with each other. What is happening to the world? What is happening to the body? Sara Stites and Monica Grycko are united during this exhibition in a reflection of plastic audacity within the context of contemporary interrogation about the future of the living. “Write about what you have seen, about what is, and about what must arrive as a result.” – this is what is said in Appocalypse 1,3. One can replace the word “written” by “represented”.
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