The series FOG by Sonia Wysard, inaugurates a research of engraving by the painter, where the paper support, drawings made from stains of painting instruments – brushes, paint-brushes, squeegees – and the procedure of monotype engraving, seeks new possibilities for the conceptual displacement of the body in a two-dimensional space.
In a dialogue with the works from the DIVING series, however in a more intimate, delicate and reduced scale, therefore more cerebral than the direct body confrontation that the large black and blue canvases induce us. The sequential monotype FOG series conjures the fading of the image throughout the attenuation of the printing power, which is mechanically made by the monotype printing on the same matrix.
These images recalling ethereal landscapes, perhaps, instantly remind us of representations of Japanese landscapes or the atmospheric impression of William Turner’s paintings. But the sequence of dilution from the first image to the last, allied to the spatial displacement built by each frame of the process, allows us to reason the fog as this physical and gradual fading – loss of sight – blinding us to the landscape little by little. A procedure that can be almost inversely related to Sonia’s Divings, which impel us to find the light in the darkness.
Thus, the white and the black, as limits of a fading/revealing, pass one more time through the works of Sonia Wysard, transforming each monotype-landscape in a constructive gesture for reasoning and a esthetical experimentation. Through this invented procedure of “fogging herself”, Sonia still dives and takes us into a dive, although, here, the diving is taken into the fog.