Leda and the Swan. A bird and a bird “trapped” in the confines of a painting – that was my informal introduction to Liliana Fleri Soler, or rather, to her art.

The works are exceedingly personal, as should be their interpretation

Leda’s rotundity and elongation was captivating; her sinuous, bottom-heavy body magically and seamlessly attached to this noble bird. A unit – one meant (and made) for the other. A “couple” painted as a piece of marble would be carved and chissled – as a single mass. Where one begins and where the other ends is indiscernible.

Back then, little did I know of Ms Fleri Soler’s penchant or predilection for the portrayal of the female, or of her tendency to pair up a figure to an animal, insect, creature... yet I quickly discovered the recurrent themes, subjects and pre-occupations. And a style quicky emerged.

Admittedly, my knowledge of Ms Fleri Soler’s work had been somewhat limited and sporadic; yet it proved insightful when placing her recent series of bronze and mixed-media works on show at SO Galerie, into perspective.

The works comprising the exhibition have been simply gathered under the broad umbrella: Sculptures. In fact, Ms Fleri Soler doesn’t use titles or labels. The viewer’s interpretation is thus left unhindered. Her works can be read at face value or can be dissected. Just like Dante’s inferno or paradiso, the levels and layers are inevitably there for those wanting to spiral downwards, upwards; for those wanting to peel away in search of the core.

I’ll admit to having been rather impressed with this collection sculptural work. For one possessing no formal artistic training, I found Ms Fleri Soler’s work to be poignant, multi-layered and most importantly, highly personal. I also felt the decision of inlcuding the sculpture’s preparatory sketches was an asset to the exhibition.

Viewing the watercolour and ink drawings together with their 3D counterparts, gave form to the growth and evolution of each of the sculptures which generally acquired height, length and a quality of contortion, when translated into forms in space. It’s almost as though Ms Fleri Soler was trying to stretch her work (and figures) to their limit – testing their elasticity, yet also their breaking point.

The Octopus Medusa (my title) and the Keys for Intestines (also my title) are especially height defying; not to mention the four mixed-media works which Ms Fleri Soler seems to have had the most fun with, yet which also reveal a high degree of pathos.

The latter works are all at once more delicate and tactile; their skeletal armature is placed in evidence, imparting the figures with a frailty and fragility which is not as apparent in the solid-looking bronzes. In fact, the mixed-media sculptures were most engaging, enthralling... ethereal.

Their position in the gallery is also particularly suggestive, perhaps because of their partial concealment from the rest of the show. They have been segregated, yet their presence is altogether commanding once visual contact is made. A gypsum structure, containing four “windows” complete with sills, was specifically crafted for these works.This gives the area a very intimate, verging on the peep-show quality, which is decidedly installation-like. Short, pointed and descriptive phrases accompany these works, giving further definition and detail to the tableaux.

I can see these works gaining monumental dimension; they already possess the potential of making the leap to public art pieces. They are the kind of engaging sculptures which viewers/passers-by would stop to notice, photograph and interact with. My only hope is that someone is taking note of this much.

I could focus on a couple of favourites and discuss them till the cows come home, but that would be all too easy and all too selfish.

The works are exceedingly personal, as should be their interpretation. Their autobiographic quality and significance projects onto the viewer; the work of self transforms into, and becomes, a representation of sex, gender, identity.

It’s easy to classify modern, forward-thinking women as feminists. It’s even easier to classify a woman artist whose work and subjects revolve around the portrayal of the “fairer sex” as a feminist. Yet it would be erroneous. To say the very least. Feminism and femininity concern women; the similarities stop there.

Throughout the ages, women artists have been fascinated by gender, perhaps in search of balance, place, equality. Yet, is there a need to state the gender of a creative? After all, “male” artists are never labelled as such, they just are. So why aren’t women? “Art is anonymous. It’s not competitive with men. It’s a complementary contribution” (Barbara Hepworth).

Where Ms Fleri Soler’s work is concerned, subject matter is crucial, albeit concealed. Male artists often express that subject matter is an excuse, paint is the reason. Contrastingly, with many women, subject matter is the driving force to create.

“There are two important days in a woman’s life: the day she was born, and the day she finds out why” (Elaine Cannon).

• Sculptures by Liliana Fleri Soler is showing at SO Galerie, Dun Karm Street, Iklin, till February 29, 2012.