The artistic process of Sonia Kacem can be described as an ongoing discussion between form and content. It has been characterized by a careful exploration of materials and a study of their physical properties in order to investigate their reactions and determine their final shape. She sources her materials from different stages of the consumption’s cycle: online ordering, second hand shops, crafted objects from workshops, factories’ leftovers or individual refuses.
At the same time, a personal mythology guides the artist in the choice and manipulation of such materials that are subjected to a series of random gestures with the aim of developing scenographic assemblages in which the visitor is invited to wander. Sonia Kacem’s installations are the result of a search for interaction between objects and observer: an intuitive interaction with the forms and the materiality of compositions that, even though aesthetically abstract, follow the traces of fiction or drama. In fact, the artist brings topics and stories that are relevant in her present research and that influence her work directly without being explicit.
The forms are deliberately obscure and allusive to maintain that continuous tension between presence and absence in which Sonia Kacem finds the sculptural potential she wants to incorporate into her own production. Through the prism of sculpture the artist has gradually introduced new elements that led her to investigate the body and, more generally, human experience. This is understandable through the titles of her latest installations – Thérèse, Petra, Loulou, Carcasse : namely all surnames. This personification of the objects introduced new insights into social analysis in her work such as the constraints related to the public and private spheres.
Text’s extarct by Giulia Bierens de Haan