The works of Dutch artist Siiri Spronken conceal an underlying, invisible form that does not impose itself with its immediate evidence, but reveals itself as a common thread of meaning and existential tension. This latent presence invites us to question the very nature of form and emptiness in relation to the complexity of contemporary society, the fragility of the individual and the incessant flow of time. Spronken's art moves along a fine line between presence and absence, between the visible trace and the fundamental one that remains desperately hidden at the perceptual level. Through suspended surfaces and forms, it expresses a principle that we could define as “underlying form”: an element that, while appearing empty, possesses an integral presence, an intermittent energy that sustains the entire composition. This dynamic refers to Robert Musil's notion of Gestaltlosigkeit, which describes the condition in which human beings, constantly filled with content and images, are confronted with a void that is not privative but generative of meaning. 

“While I paint, I often approach the surface of the painting sculpturally whereby light and colour coincide with the form as if naturally, as if you were outdoors in the sunlight, that chromatic transmission between two colours. The light constantly changes, which not only affects the colours but also the form of things. That movement, I like to see it in the work, especially in this series of “Corpus”.