Sonia Ros

” The centre of the venetian artist’s poetic has always been the relationship between desire and reality, which she faces with an abstract/conceptual kind of paintings capable of conveying in an anti-naturalistic manner the shapes and the figures of desire. This process of alleviation and allusive symbolization gives back some pictorial snap-shots of mirabilia which are alleviated and exempted from the necessity of realistic figuration: it is as if reality were for the artist an enormous Wunderkammer and she was capable of reestablishing in a “surrealistic patchwork” the gaze on the combination of marvellous objects that it contains. In this perspective, the elements that form the inner and outer reality are seized, in their individuality and partiality, just a moment before becoming perceived and known and re-assembled objects in a fantastic bestiary, which presents itself as the organic and inorganic synthesis of everything that produces amazement and desire.
It is as if she were watching from a keyhole of Wunderkammer and she turned towards the canvas in order to paint the ecstatic vision of a combination of fragments of reality, joined by the common thread of the desire of a collector who is thirsty of exceptional shapes. The “chambers of wonders” are, in fact, the historical example of an ingenuous and instinctive museality, devoid of method, that defies taxonomies and classifications and that answers merely to the logic of desire and amazement. Sonia Ros is aware that reality is the product of a process of perceptive and interpretative mastering and that the subject that is related to reality is a “relationship that relates” to itself and to the environment. For this reason, the artist’s pictorial figurations are like self-portraits (one’s own self put up , while it relates itself with the world) which she composes articulating the objects struck by the power of her desire and giving birth to metamorphic creatures, that are given back to the spectator’s perception as in a pictorial snap-shot, capable of embodying the visionary universe of a magic realism, almost shamanic.
The hypertonal pleasantness, the liquid luminosity and the transparency the pale colour, accompanied by acid dissonances and shapes that occupy the space imposing themselves on a full and monochrome colour field, characterize painting of large dimensions, in which geometric shapes and organic apparatus lend themselves to continuous metamorphosis of shapes, the product of a linguistic refinery which the result of out of the common pictorial skills. Sonia Ros possesses a secret, the epiphany of the body in the moment in which desire meets reality, and she knows that this secret reveals itself to people’s perception only in that moment in which reality frictions with the vital energy of the wanting subject. The challenge that she has accepted is to paint that tension and that moment. ”

Roberto Mastroianni,philosophe et critique d’art, Venise-Turin, 2013