Emerged into the world amidst the vibrant hues and bustling life of Mexico City, daughter to John Väinö Forsman, the Finnish composer whose lineage bore the artistic fervor of Finland’s cultural contributors. It was perhaps destiny that she, too, would tread the path of artistic endeavor.

In the nascent stages of her career, Sairi's expressionistic sculptures bore the raw, visceral emotions of life, with features harshly incised into clay. This period of fervent expression gradually gave way to inspirations drawn from modern art and cubism, from which she crafted tangled forms and knotted bodies that narrated the complex ballet of love and hate, the entwinements of self that both bind and liberate.

Yet, as if following an inward spiral, her art evolved, the knots unraveling to recall the body's intrinsic memory, its traditional and almost realistic essence. Her figures, now elongated, began to inhabit her works with a new narrative force, culminating in the creation of "The Cannibal"—a piece alive with its own breadth and being. Though this sculpture marked a pinnacle in her career, Sairi was not content to dwell within the confines of a singular style. Her artistic journey continued, her sculptures diminishing in volume until they distilled into their final essence: bones, vertebrae, spines. Sairi once remarked, "The skeleton is not merely a symbol of death but a framework, an original view of human interiority."