Anita Sieff
social sculpture #1
      The Kitchen NYC, October 8 1999
  ABOUT   >>>>>

ESSAYS   >>>>>


Psyche, Ca'Pesaro Museum, Venice, 2011 [eng]  [ita]  [video]

Ordine di Senso, 2010
Venezia, Fondazione Querini-Stampalia

the drama of love at the Fortuny Museum in Venice, 2003 [eng]  [ita]

moda è modo, 2001

social sculpture #2 at Tonic in New York City, 2000

symposium on Love in Venice, 2000 [eng]  [ita]

social sculpture #2 teatro Fondamenta Nove in Venice, 2000

social sculpture #1 the Kitchen in New York City, 1999 [eng]  [ita]

WORKS   >>>>>
    Love, as both the motivation to act and the human obligation to expand consciousness, is my field of investigation. This investigation is an existential wandering into interpersonal relationships and interactions within society. It raises the question as to whether love is the most powerful medium for creation, in so far as it refers to relatedness as the ability to give up egocentrism.

I think it is possible to partake in a common project without compromising one's identity. The condition of a true relationship is the willingness to give. These contributions, under the law of attraction, will find each other and define a new dynamic that will take place outside the self. In this new frame of reference, which is beyond personal possession, the alchemy of transformation performs the miracle of birth: the relationship. Each can contribute whatever amount of energy as long as it be a vital one. This perspective preserves the autonomy of single identities. They are untouchable. They cannot become contaminated. Only going beyond the self to meet the other creates the true relationship. The relationship therefore is outside the self, it doesn't inhabit one. The relationship is the common space, the laboratory where we experience communion, where we are not alone as we are enacting creation.
Art inhabits this space because it is essentially creation. The moment in which we expand among others we encounter a new means of art as being the principle of relatedness: pure communication.
Social Sculpture No 1 recognises this dynamic and the realisation that within that "space between egos" is hidden the key for a broader understanding of the nature of communication as a means for comprehensiveness and union. It initiates the process of merging, of participating among diversities in the path towards a new means of "reconstruction". Going beyond the state of being merely observer we regain the power to envision, to build through interaction. The astrological charts display how important it is to regard highly the uniqueness of each identity through the power of choice.
There must be made a distinction between being a potential artist and being an actual artist. That is to say that in order to become an actual artist one has to decide and be able to pursue the vision; to bring into the present the signs of the future. Love as a principle of integration turns potentiality into action and, therefore, differentiation. Through this movement, potentiality performs its energy creating the experience, the form. The mind then, by holding coherently the images of existence, translates it into consciousness.
Only one who is available and ready to do this can be considered an artist. So everybody is an artist, but few take that responsibility.
The challenge is to see ourselves as new beginnings, with the chance to break through inertia––inertia being the priciple of resistance to change. With such a potential, such a resonance, we can perform. Recognising the same intent is to become an agent of change. In such a context, creation of consciousness and artistic process run closely to one another, if not converge.