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The main character of this piece, which could be defined as a video-action or video-performance, is the body of the artist, acting as a field of resonance of physical and mental forces. Dressed in black, and with a distant attitude, with a sense of detachment in relation to the viewer, Sigler uses her body as if it was an instrument. With her hands, on different parts of her anatomy, she performs a repertoire of percussive beats, composing a peculiar sensorial symphony.
This piece falls within the artist’s body of work on the revision of the notion of feminine identity, whereby she attempts to “reconstruct” the stereotypes historically associated with women. Her work combines conceptual pieces, such as the one we are presently describing, with others with a more narrative character. The focus always tends to be on the evaluation of woman and her preoccupations.
The action recorded on this video pays tribute to the performance art of women artists of mainly the sixties and seventies, who turned video into a combative tool in order to offer new visions of the feminine from feminist political positions.
On various occasions Sigler has expressed her preference for the creative energy emanating from the body, a body which is understood in its most irrational version. The artist focuses on corporeality as a source of light, of electricity, sound and noise... as the emitter of perceptions, of intuitions... beyond narrations and fictions. In the case of this piece, Sigler was looking to “harmonise the mental, the sexual and the biological”.