In the permanent artistic decision as to whether painting should be used to describe an event or whether painting itself should become the event, Sissi Edler has made a clear choice: she needs neither the object nor the "story" that a painting can tell, but trusts entirely in the direct effect of colors and traces of painting. Occasionally one could detect a hidden devotion to form, for instance when she leaves the all-over structures of her painting, nourished entirely by color composition and brush lettering, and makes use of systems of ordering quadrilaterals. Likewise, the preference for certain form relationships - certainly also the square - indicate this. Otherwise, however, she lets the brush run, creates a dense fabric of overlapping strokes (these, too, preferably of vertical and horizontal orientation), which on the one hand give the eye a springy spatiality, on the other hand also point beyond the limitation of the format and thus make the picture a section and outlook of a broader concept.
Anyone who works in this way must be able to rely on his sense of color and on the quality of his brushstrokes. Sissi Edler loves the harmonious depth of the color cadences, avoids edge-like hardness in her gestures, but lets the stroke pulsate like the blood in the veins. The resulting movement is a familiar rocking along the chosen direction, a leaving open of the view to the underlying structures and har perhaps therefore such a calming effect even when the color becomes louder.
We look over the shoulder of a painter who is almost physically absorbed in her pictorial inventions and for this reason alone seems so authentic. Painting, honest!