Alexandra Lascari - [Horrorgenia]
1942

Alexandra Lascari physically engages the surface of all the abstract works; all art works are derived from a particular situation and consciousness, extracting observations and private histories from the artists' archive of personal experiences; it's a sense of active seeking and scrutiny. It is not a departure nor an arrival, the layers of time and place involved in the works of art presented engage the viewer in the complexity and awareness of the situation. It's like an enchantment; the artist uses a quasi-scientific presentation of data. Illustrating subject matter to the viewer is not artist primary concern; if presented in that way, figures give to the sign which they produce, literature and that, in turn, is easily appropriated by myth, all around us the fundamentals of life are crying out to be shaped or created. This work may then in turn have serious relevance to human needs and the formulation of policies, but there is still something inhuman about this work, the installations of Alexandra Lascari- sometimes called Cutting Through'90 by the artist - cast their spell over the viewer at first glance; but a moment that almost functions as a number of stills that are isolated from a film creating a new situation. Within each work a 'statement' functions to describe the continuum within a balance of constants and variables, even if it deals with currently important themes like identity, pollution or society.