The irregular story
The motivations for being creative are always multiple, the reasons for each action are the result of a mixture of conscious stimuli and impulses. Art, therefore, is the best field for such moral ambiguity not only in terms of representation, but also in the execution and in its reasons. It is precisely the motions to carry out the work of Sirenes, the artist of the unique style for everything, who shows how the point of encounter with the reality, with the actuality is that of action, of the production. The artist understands that to be a contemporary artist must first be contemporary woman, aware of the casualness of the unpredictable life and of the freedom as being, without the commitment, now overwhelmed, for the fighting emancipation.
The tonal painting, rich of color and motion, is all played on the constant intent to remain in close contact with the outside, while using an intimate and not phenomenal work. The big idea of the painter, the one that makes it original, is in the courage to realize the extrinsic with the intrinsic, escaping from the respectability of the real vision of the things. If art by definition establishes an ideal or craft comparison with reality, the artist, is always free to decide its attachment to both the first (art) than the second (the reality). In fact Sirenes do not believes in the need to establish a characteristic creative attitude, but rather chooses a non-linear and abstract path, but always sensitive and "disturbed" from the outside. So begins the way of the irregular art of Sirenes.
The obvious negation of form is discredited by a cromia rich of hues and not always of colors, which realizes a language of intrusive volumes , often well defined, that sometimes "have fun" to take a recognizable appearance and to contract itself in restraining lines. But these drawings of figures and things are deceptive because the limiting traits are unstable and they quickly dissolve in the dense mass of colors. The artist shapes the pasta with their hands certainly to emphasize her close relationship with painting, but mainly because no other instrument is suitable to realize her inspirational motions. The formal dissolution leads to infer aniconic and tachisme influences, determined by strong and sensual expressiveness, by progressive abstraction of the poetic language, by an excessive materialization of color tearing the surface of the painting. Formally these characteristics are recognized in the art of Sirenes, but they are less relevant, because the matrix of a dramatic informal intellectual crisis is replaced by a more sentimental, almost lyric ideological model, which determines an inconstant and variable trend of the representation.
Therefore It seems appropriate to define this modus operandi as Lyrical Abstraction, able to combine the personal universe with the real world without the seemingly and imposed abstraction from the phenomenal. The expressive an symbolic function of the color is accompanied by its primary function of connective link between spirit, a work of art and nature. The canvas is transformed, in the words of Kandinsky, in Impression, where in the work is still visible the personal and direct impression of the external nature. But do not forget that the psychic and the physical effect of nuances are reconciled by the action and, therefore, by the emotion, that takes shape in the hands of the inspired, the one that can tell the story irregular harmoniously.
Denitza Nedkova, Curator Bologna, Italy 2013