Issue Twelve
Artist Profile 
2020

Sof Cia

London

My name is Sofia and I am a multi-disciplinary artist based in London. I just completed an MA in Fine Art at Central Saint Martins and so far exhibited at Tate Exchange, Apiary Studios, Lethaby Gallery, and Ugly Duck.

 

I was born in Florence in 1993 and lived in New York as a teenager. While renaissance art trained me to a sexualised representation of femininity, third-wave American movement encouraged me to embrace individualism and diversity.

 

The themes that I want to pursue in my work have to do with the female body and its relationship with technology and social media. As a millennial, my reality is influenced by the post-feminist media age, and my work responds with absolute transparency to modern narrative conventions that are inextricable part of my culture.

 

In my research, I use keywords as a way to narrow my work down to specific topics, and navigate the endless possibilities of production. ‘Digital Bodies’, for example, relates to the mainstream body manipulation of media images. While ‘Digital Feelings’ to the anxiety of needing to conform with the fabrication of identity. The ‘digital bodies’ are so far from the originals, that once they have been accepted as the truth, it is impossible to identify with the ‘authentic’ anymore.

 

Given this dissociation from media images, I was looking for ways to reconnect to a sense of self that relies on the senses. That is when I found Anthropometries (1960) - a performance where the french artist Yves Klein arranges naked women making imprints of their bodies.

I felt the urge to re-contextualise Klein’s work using my own body as an art object, and combining my name with Klein’s original. I called the process SOPHMETRIES.

 

While using my body as stamp tool, I started thinking of this practice as a performance rather than painting. Thinking of ways to incorporate this performative element into a flat painting, I experimented with augmented reality. This tool allows me to combine different practices such as painting and performance, creating a parallel universe that is hidden on top of the canvas and inside anyone’s smartphones.

 

As my practice evolved within this multidimensional realm, it was important to establish a specific context for the delivery of my work. Social media is such a relevant part of my research and life experience, and a good place to interweave on multiple layers of society. Specifically Instagram, where the main focus is on the female body.

 

As a young woman artist, I would like to offer a critical approach to female representations - unpacking the vulnerability of white female privilege that marked my experience with womanhood and life events.

 

What emerged from my research on the mediated representation of the female body, is in fact a dominant manifestation of self-obsession, narcissism and human capital to mention a few.

A decentralised app where content is often presented as already sexualised, and where the female body is constructed, manipulated, commodified, fabricated…

 

I think of my work as a way to invert the platform of all its dilemmas, allowing the audience to define the interaction, based on their own interpretation of the female body presented.

 

Is it possible that, in the era of networked protocols and love algorithms, the only way to authenticity is through a screen?

Contact us - arts@murze.org

 

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