Ludi

The unequivocal relationship of photography with the world, within that immeasurable spectrum that stretches from its invention to today’s vertiginous hyper-technological present of multiple hypotheses, is reinterpreted by David Sisso through a practical awareness that is as rigorously reflective as it is experimental. Employing procedures that combine indispensable orthodoxy with the dynamics of the unforeseen, the artist adopts a proactive equidistance between the use of the device’s mechanical resources and apparatus, the actions, reactions, and equations of drawing and graphic elements, and an extremely subtle initial relationship with the object. Stripped of its condition as a mere referent, Sisso imposes upon it an almost alchemical derivation, multiplying it into diversified appearances of an unnamable morphology.

The series titled Aproximaciones discreetly unsettles those who allow themselves to be carried away by the lucid appeal of synthetic geometric equations, which Sisso has rendered here as inadequate for any two-dimensional reading and yet prone to eventually reveal themselves as corporeal. A delicate modulation of alterations in the luminous value of the plane envelops with intangible evanescence that which threatens to become the paradoxical shadow of an uncertain element—at once object, cut, depth, and surface.

In another optical register, the works announced as Grafismos generativos unfold a fascinating interweaving of grids, waves, folds, and oscillations, animated by the linear energy of a kineticism that arises equally from the richest manual sensoriality and from the structural resources embedded in technological programs and rules.

Similarly, the ensemble presented as Deriva offers the systematic counterpoint of a language of signs that seems to expand and concentrate simultaneously, in precise conjugation with the proportions of the plane.

Orchestrated as a “suite” of essays or projective inventions, this harmonious interplay of graphic patterns, perimeter cutouts, spatial simulacra, and illusions of planimetric three-dimensionality seems to propose to the receptive gaze a kinetic game of exchanges, resonances, and multiple allusions—almost as an analogy of the stimulating and festive poetics that define David Sisso, encapsulated in the title he chose for this exhibition: that small word, Ludi, with a resonance as expansive as it is mysterious.