The first thing that strikes us are the brushstrokes, then the painting itself. To encounter one of these pieces can be compared to the experience of feeling one of those contagious rithms; even before listening to the whole song we are dancing.
Each painting is formed by hundreads of thick, color-loaded strokes. they are extensive, flexible prints organized in space layer after layer. The brushstrokes generate a licergic braiding of cold colors with warm touches and vice verza. They are gestures charged with matter that go about lightly as oil running on teflon. Gestures that mute words and disarm all arguments.
The images, swirling, abstract and lively are surely relatives with Mary Abott's selvatic paintings. The amalgamated palette, the rithmic composition and freedom that we see on Sorans paintigs have great affinity with those that the ninetieth artist made back in the day, when she decided to leave behind a life of modeling, of Vogue`s front page and glamour to enter the very heart of Haiti's jungle and paint its spirited landscapes.
The strokes that cross Soran`s fabrics are originated not in the outside world, but gesteted from an impulse inside the artist`s body. To her, paint is a physical exercise that has the goal of an inner organization of the.body, the work not only of making a pictoric composition, but of generating a corporal image. The art-work is parting from an specific need: To drain energy, and that drainig , that passage of fluids form one place to another always has the function of healing.
As in any other drainig process the impulses are fished by nets from the dephts to be transported to the canvass. Sorans displaces herself, she feels like a medium, an energy channel for that thing, that force,that entity or capabilty that we all make use of and understand in it´s racional or hidden asceptions. Energy used to transform, alter, replace or just set something in movement.
The movement of the artist's body, of each one of her paintings and of our sight that cannot find a fixed view-point and expands itself with a centripet force from the image to the rest of our body, our organs and muscles. All of this happens inside of an expresive surrounding atmosphere, this great pictoric structure where we merge into the paintings and fuse to the sound of a rythm that alterns between phtalal green, gray and salmon.
Lara Marmor, October 2016