Sofi Gallery is a contemporary art exhibition space in Bergamo, managed by RT Holding – Consulting Art SRL, a company with national and international experience in the art sector.
On September 13, 2025, the new 350-square-meter facility was inaugurated, designed to expand the cultural offerings through exhibitions, events, and gatherings dedicated to artistic research and experimentation.
In Karin Monschauer’s artistic journey, the rigor of mathematics and the sensitivity of the creative gesture are not in opposition, but are recognized as complementary parts of the same cognitive drive. Born in Luxembourg in 1960 and now based in Muralto, the artist has, over time, developed a visual language that draws as much on logic as on memory, and as much on structure as on intuition.
The solo exhibition *Geometrie dell’Anima* serves as a poetic synthesis of this exploration. The title is not only evocative but also deeply reflective of the artist’s work: the geometries that inhabit her works are never formal exercises for their own sake, but rather sensitive devices through which to make visible an inner, invisible, and dynamic dimension. In Monschauer, form becomes emotional vibration; structure, an energy field.
The roots of this practice lie in the ancient art of embroidery, from which the artist draws a conception of the image as a form of weaving. In her early works, thread and manual gestures created dense, intimate, almost ritualistic surfaces. Over time, this textile vocabulary has evolved, moving through the “half-stitch” technique to a decisive transformation in 2015, when Monschauer introduced digital technology into her creative process.
The adoption of digital software does not break with the past, but rather transforms it: the weave becomes a matrix, and the thread becomes a vector line. In this transition, Monschauer’s work engages with the Op Art of Vasarely and Bridget Riley, while maintaining its own distinct voice.
What sets his work apart is his ability to combine visual tension with a meditative dimension: his works do not merely ask to be seen, but to be experienced.
In this sense, geometric forms become a universal language, capable of evoking archaic structures while simultaneously projecting a vision of the future. The soul, on the other hand, emerges as that which animates and destabilizes these constructions: a vital flow that eludes the rigidity of form while manifesting itself through it.
“Geometries of the Soul” invites viewers to discover Karin Monschauer’s work as a space of resonance between order and intuition. Her hypnotic surfaces offer a threshold of perception: places where the precision of the mark becomes a gateway to the invisible.
In an age saturated with images, Monschauer’s work restores a rare contemplative quality to the visual experience. Geometry is no longer a limitation, but an opening: a passage through which the soul can find form, rhythm, and breath.
