If we see life as a wire, we are essentially wirewalkers trying to balance with gravity, the force that we’re dependent on to make every step, as well as the force that irresistibly tricks us into falling. In the beginning, wirewakers step on the wire with all their confidence and certainty, as if the artist is certain about the topics he is addressing. By touching various social issues, the artist intends to take down the unbreakable wall called authority. The authority that makes us feel secure, in the same way that leads us to self-justifications. The rebellion deep inside his heart is then awakened. At that very instance, he’s no longer the man of obedience. The reality, however, has proven to him from time to time, that every effort is as fragile as an egg. By the time he is in the middle of the wire, he is not sure anymore, neither can he see the end of this wire. The longer he stands at one point, the more likely he is going to fall. Therefore, the attempt of approaching pushes him further back. Standing alone on this wire, he can feel the gravity; this downward force from the Left and Right. Perhaps, he will never reach the other side. But until he finally falls off, the walk has to continue.
The story of the wirewalker reveals the main focus of Sinistra’s artistic practices: undermining the authority while evoking the viewers’ critical thinking. Essentially, the wirewalker isn’t only the depiction of the artist’s situation, but also the depiction of everyone. In the age of the Internet, countless information and data has overwhelmed us; the sources used to claim to be credible have now become questionable. We’re all tricked by this downward force because it’s convenient to believe one side without seeing it in a broader view. Moreover, it’s easier to follow the path which everyone walks. Thus, when critical thinking takes over ignorance, people come to the realization that truth only exists in the process of revealing, as if the endless wire that the man has to always walk on.