CRITICAL REVIEW

 
        Ioana Maria Sisea is one of the artists belonging to the young generation, whose object instalments interfere with graphics and painting. In the Dissimulation series, Ioana Sisea collects her own moods in the form of porcelain masks. The young artist becomes a fine psychologist, portraying and analysing the personality’s polarity, investigating the double nature of human structure. Nothing is pure essence, just an alter ego, probably incorrigible, but unavoidable. Every face has imprinted on it a sign, a spot, a scar, but every spot has also an immaculate, undesecrated surface. Ioana Sisea’s masks depict all the aspects of the ego, not only the accepted ones, but equally the not at all remarkable, questionable, undesirable ones. Between the spot and spotlessness, between coloured and colourless, between shape and shapelessness, Ioana Sisea juggles with expressiveness. The distorted masks coagulate in organisms, in beats, in magic rituals, in volcanic lava. Just like the main character that transits the hotel’s lobby in Jean Cocteau’s movie, „Le sang d’un poète“, the faces that the young artist looks at are nothing but fictional games of each one of the members of her audience. Ioana Sisea transposes facets of her own personality in masks filtered through cultural art history: the 17th century Japanese theatre mask, Kabuki; the art nouveau mask; the expressionist mask; the fragment mask (defining of the postmodernist period). From the introspective sphere, Ioana Sisea notices the space around her. Silhouettes filled with graphic fluidities condense in an intimate communication, in Connect and Intimicy Box.

Raluca Baloiu (2014)
 


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