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In this most recent series of works, Misasi continues developing her tendency to structure works by means of keeping them in those remarkable box-objects which, at the same time, evoke the diptych technique of the Byzantine icons. They are expressive shapes themselves as well as the protagonist of each artistic unit.

Her taste for space is not limited to that, but it also extends to the independent reasons that Misasi matches according to their different widths and where a reminisce of the African-Arabian graffito and of the Islamic ataurique and mudéjar is found.

The sets surrounded by Misasi’s containers are made of pictorials and photographic images from her travelling experiences and the occidental collective tradition of “A trip to the Orient”. This esthetical construction stems from the romantic imagination of being in love with the Orient.

These three oriental echoes are influenced by a medieval European style since the juxtaposition of the fragmentary images that Misasi displays on diverse stands reminds us of the ancient palimpsests as well as the ways in which our memories are kept in our unconscious memory. There are creative techniques that we may suppose come from the cross of her bibliographic passion and her architectonic studies.

Thus, Misasi creates a new occidental arabesque, a genuine southern “orientalism” that not only reminds us of the “Belle Epoque” and the distances of the trip that make it what it is, but also transforms the images that are recorded in our retina in masterly icons. Then, she grants us again the gift of abstraction within the abstraction as Villaespesa wrote:

“[…] all the shapes and landscapes are latent. In essence, in those sober lines and in those pure colours. As if God himself wishes to suggest the ineffable spiritual mystery of beauty. The one that is only understood by the eyes that see in the shadow and the ears that listen in the silence…”   1

1 Villaespesa, Francisco (Spanish poet: 1877/1936), “El Alcazar of pearls”