To get to the heart of things is a deeply anchored wish in Soisser’s works which manifests itself by the fact that many pieces have two sides that require individual perspectives.
This can happen by arranging individually parts or ensembles of her sculptures (Box-series A&E). It also holds true for the individual arrangement of cards depicting the evolution that are mounted on metal rods.
She uses a simple mechanical trick by offering a backside putting in doubt the front side, what forces to ponder about the possibilities. It is necessary to follow this thought process to understand her creative evolution. It is not necessarily important to the artist where the spectator eventually ends up. It seems to feel that she puts more importance on the “where from” than on the present level of enlightenment of mankind. Only then can creative spaces be recognized and consciously used in relation to the “where to” and “how”. Without clarification of the “where from” there is little hope to successfully complete her mission/endeavor.
The various materials Stoisser uses often contrast with the intended artistic expression. It is not only ships made of concrete, that plow the waters, neither sheets of paper made of heavy steel, nor discs of marble that are forced weightless into the air.
It draws attention to the dematerialization of the human body that has left the pants and shoes it once wore same as the chairs and banks it once occupied, and to its mere absence (cutouts). Whirring Plexiglas by means of deformation documents the body’s physical dissolution. A process that Captain Kirk (Spaceship Enterprise) initiated repeatedly in each series, which however, could not be repeated scientifically in the non-fiction world.
The respective use, and disuse, of material sharpens the observer’s attention and increases his ability of reflection. Heavy can be light and vice versa, transparency can be documented even if the view is obscured.)
The common way of seeing things is turned into its opposite comprehend the artist’s statements. A fundamental curiosity leads her to constantly try out new materials and ways to manipulate them. In this process knowledge of material acquired during her studies with Bruno Gironcoli certainly helped.
Not important for the understanding of her art, but one cannot help admiring how the rather slender person of SST manages to bring about such large, heavy and voluminous pieces.
Alea jacta est. What struck me about SST art manifests itself substantially(strangely) in “Play Dice”. Anybody who ever played dice knows how easily they are tossed out of the wrist. Her dices made out of steel can hardly be tossed with ease. The spectator can decide which numbers he/she wants to look at. Arranged by the artist in various exhibitions, the dice are often placed on its tip, side leaving open how they finally fall. Are they falling at all, in which direction, or do they require a new toss?
The theme of playing dice offers chance. The result cannot be influenced. The player, albeit spectator should or must know this. Possible this is part of Suse Stoisser’s message.
BURKHARD RICHTER. 2017