Sara Stuflesser, born in 1977, studied at the art school of Ortisei
and then at the Academy of Urbino in the painting section. She explored
the technique of fresco and graffito from the artist Silvio Senoner
Rijeda. After a series of deep
reflections and personal researches, Stuflesser found her way to express
her feelings and emotions in art. Sara
Stuflesser’s works are remarkable for their particular and noble
fineness which is characteristic for her feminine art. The basic
argument of his works are the contacts and the different positions of our society. The artist has furthered her thought of people’s woven relationships. She
creates figures with black thread and glue, which are placed into real,
everyday situations. With the entangled threads, she wants to show the
human being of our days, who is confronted with problems and troubles.
The human being is often left alone and looks therefore through the
threads for contact and acceptance. In some of Stuflesser’s works, the
situation and the figures are dimmed by a veil and this makes our view
even more exciting. Thus, the work of art becomes blurred and mysterious
and describes even better the interpersonal relationships. This
situation of seeing and not seeing shifts us in a free liberty of
thoughts. Through these cohabitations, she wants to engage the viewer
to be part of the dialogue and give rise to a reciprocal exchange.
Sara Stuflesser develops a very personal technique in her paintings. With applying and taking down layers of color, she creates a special depth effect, which gives us an increased insight in Stuflesser’s thoughts and opens us interesting perspectives. The earthen colors she uses show her closeness and sensibility to everything which was created.
Sara Stuflesser, a thread for every story
by Andrea Lombardo
Close to the sky, in the valley of Val Gardena, Sara Stuflesser’s paths are born: a sweet composer of harmonies.
After attending the Academy of Fine Arts Urbino she returns to Ortisei, where she teaches at the art school. Teaching enables her to apply the education of creativity: she loves to bring the younger generations close to art, to the alternative use of words, which is a tool for expressing one’s emotions, memories and autonomous values: “to each his own”.
Sara Stuflesser is a dynamic traveler who, after having seen the north and south of the world, loves to come back in the middle of the mountains, breathing in paths known and unknown, which in her works are transformed into endless linear journeys: a long road of emotions that crosses her works both spiritually and physically.
Her narration is like an encounter with a stranger: it leaves something beyond expectation. What you learn from this encounter changes you: it is fresh air that renews life and the way you read the world. This dialogue gets to the central point of the question without long-winded expressions: it is essential and clear. A thread that makes you listen to it. A thread to get to know the thoughts, fears, and expectations of everyone of us.
Sara Stuflesser is an embroiderer of movement and stillness. Her figures transpire their desire to say their piece, to communicate, to get in touch with space and those in front of them. Being on fabric, paper, plastic or wood is no limit to them: they have the bad habit of beginning to speak, to say their piece.
Inevitably they stay there, straight, bent, sitting on light and invisible floors, crouched on a beam, clinging onto the ceiling and their projects, maybe our own projects. They throw threads, drop beams of dialogues, and bend their ear towards other works, other figures, and other actors.
They leap at the chance to poke their head out, beyond the barriers, the false barriers that are built more and more often. They leave the doors open, new doors to peep in, discover, and savor. They’re not skeletons, or shapes, or bodies, only undisciplined creatures of our imagination that enjoy highlighting our state of mind.
Sara Stuflesser’s works tell us that art must be listened to and read slowly, at one’s own pace. There is time for everything. No need to hurry when you admire a painting, or a beautiful landscape on Alpe di Siusi. Take all the time you need. Look after your health. Art can always put every thread back to where it belongs.
The mountains, with their heights, lights, melodies and inhabitants, are the perfect place for the artist, like an open book, a soundtrack to find inspiration when she composes in the tranquility of her atelier and laboratory. The energy collected from the rhythms and sounds of nature, like from the bee that dances among the flowers or the wind that brushes her face, moves the artist’s hands; they compose on the wave of emotions, without any prep sketches or predefined projects. The spontaneity of her gestures follows the naturalness of the vital rhythms. These simple gestures enrich the narrations: a simple thread for a simple story.
Apparent simplicity. The works consist of passionate emotions that follow one another and gain the upper hand. Before today’s frank language, the colors used to chase each other on the palette and the canvas. And from the observation of her own work, a new research begins. Her own work generates a new language. From a painting with orange background, with the colorful thread that outlines a mother and son suspended in the piety of death, comes the urge to look for a more genuine and authentic thread: a thread that takes on thickness and fiber. The thread substitutes the brush.
The painting of the first works, loaded with colors, has made way for a stringy and textile composition. The doors to an intimate atmosphere are opened, where we are welcomed with politeness. The simplicity and spontaneity hold the hand of the interlocutor toward the paths of introspection, of the fragile game of human experience. A swing in balance between transparent and thread fabrics.
The simple forms, the choice of the semitransparent fabric and the black thread are the results of a process of experimentation and intense research: a stop on the journey that goes through valleys and streams, between alternatives, and adopted and abandoned choices.
The author chooses to get rid of the color to focus on the essence of the shape, on the doughy quality of thread and glue. These interlocutors quickly take shape and tell their stories. Every moment of the composition can open a new dialogue, a new window and new movements, inside and outside of the narrative frame.
Neither brush nor chisel nor trowel, but a simple thread to express oneself. A never-ending thread that could however break, as it is the case in life. At the same time it can last forever and engage in dialogue with the fragility, with the accidental nature of a cut, of a wrong move, of an unforeseen event.
The impact left by the thread lies between the risk of saying nothing and of having said too much. This thin witness throws itself into space in search of new connections, new points of view, trying to be accepted and welcomed by others open to dialogue.
Far away from projects established in advance and stranger to the world, the emotional push guides the hands, far away from markets and lobbies. Distancing itself from conceptual art, embracing simple ideas such as peace and love.
The human figure becomes a mask, molded between thread and glue, it loses the rigidity of patterns and follows the instinct of curiosity. It is never absent-minded, it doesn’t steal time from time with listless questions, but wants to find the solution. It is at the same time a starting and arrival point. It attracts the attention, but never becomes affected or brimful of curls and pinnacles. The Baroque is not at home here.
The material solidity of the figures, molded with the intentionally black thread, acts as a counterbalance to the fragility. It has the ability to clarify its own steps with decisiveness, it doesn’t give up in front of something unforeseen, it keeps its chin up, and it doesn’t lose its desire. In order to realize the entire project it is necessary to follow one’s instinct, free from a plan that could bridle the spontaneity of the result.
The transparent fabric allows a glimpse into the world that keeps moving, making it possible to accept the game: to be in harmony with the composition. You achieve harmony by going beyond the tear, for some a hole, for others a hiding place, or by going inside it to peek out, to spy on other people’s steps, to steal a secret, to understand the joy of life.
The figures move, they can lose their balance and become insecure. A little short sentence can unsettle them. Social life means contact with the external world. The thread itself is the contact with the people around us, beyond our garden. The thread is the passion for politics, for our neighbor who needs help. The thread is the community’s strength that leaves no one behind and holds everyone together like a ball of wool, which by completely losing its form becomes a garment, tablecloth or blanket. The spontaneity of the gesture gains the upper hand on rigorous projects: the thread loses itself in order to find the others.
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