I was fortunate to meet with her at her current studio space to discuss her rationale and emotive expression that typify these paintings. There is a triptych that is triumphantly enormous, yet fits within the massive studio, a journey into a scale the artist is not accustomed to. Yet she embraces it and in turn it embraces her.
Siopis speaks about the significance of process. While concept is important, she welcomes the unpredictability of what she calls “materiality”. The process may have no beginning or end but the result is the art-object. She has method, an affinity with white, transparent drying cold glue, inks and these large canvases in many instances, yet she allows the materials to flow and interact and chemically collide to produce a final stable “narrative” within the parameters of the canvas surface.
On a deeper level, she relinquishes control, yet there is a sub cortical, relational play with the inanimate that challenges one’s free will to dictate, yet to give way, to shape and illustrate and allow the formless and unbounded - in a sense to lose oneself.
Integral to this approach is a reverence for gravity and the excitement of not knowing what route the painting will follow, as tributaries change and move over time to settle as an image. She spoke further about the use of other media, such as installation and video to convey her message, both of which also have a certain materiality. Like painting there is a kind of productive tension, a certain craft. Yet this is no light matter for as she explained and I somewhat concur, the “how” is often more important than the “what”.