Sabine Moritz, deeply unaware.
Sabine Moritz is interviewed by Kostas Prapoglou
For her third solo exhibition at Marian Goodman Gallery Paris, Germany-based artist Sabine Moritz presents a new body of work with large-scale abstract paintings accompanied by the Sea King series, a voluminous selection of oil drawings on
The extensive use of vivid colours in combination with an abstract visual language pronounce the process of an esoteric and emotional journey. Permeated by a philosophical as well as meditational perspective, the works on view are visual exercises not only for the trained eye but also for those who are willing to engage in a spiritual dialogue with the depicted landscapes and objects. At the same time, the sense of tranquility in her paintings embrace a subconscious disturbance with the presence of Sea King warfare helicopters, a symbolic representation of conflict and military action.
Moritz’s recent exhibitions include Eden, Galerie Johann König, Berlin, Germany (2018); Neuland, Kunsthalle Bremerhaven, Germany (2017); Von der Heydt-Kunsthalle, Wuppertal, Germany (2014); Concrete and Dust, Foundation de 11 Lijnen, Oudenburg, Belgium (2013) and Lobeda, Kunsthaus sans titre, Potsdam, Germany (2011).
Below is a short interview with Sabine Moritz highlighting on the essence of her work and the way she mediates the perception of reality and emotion.
Part of your exhibited works incorporates a selection of oil drawings on lithography from the Sea King series featuring sketch versions of the homonymous US Navy military helicopter. To what degree WWII, the post-war and also post conflict eras in general have affected your visual vocabulary?
Although the influences in the choice of my subjects are definitely visible, I let viewers decide for themselves to what extent historical references play a role in my work.
KP: Part of the exhibition also features numerous large abstract paintings on canvas. How has your practice led you to expand on works of such scale?
SM: I felt I was missing something, red colour in particular. I started with abstract works on paper, followed by works on canvas; small ones at first and followed in turn by larger formats.
KP: These paintings transmit an underlying element of meditation and esotericism. How do you reach an equilibrium of diverse emotional conditions in your artistic practice?
SM: When I work, I try out a lot of possibilities. I sometimes spend a very long time observing. A work is often only complete after multiple revisions.
KP: What is your relationship with time and its properties? How do you sense aspects of memory and identity developing and emerging through the way you dream and create?
SM: I am always thinking about time. In my studio, I try to suspend it. Different aspects of time are particularly important in my work, such as freezing, extending, disappearing…
KP: Kunsthalle Rostock in Germany will present a solo show of your work shortly after your exhibition at Marian Goodman in Paris. Will this embrace a visual continuation of the Paris show or are you planning to showcase a new body of work?
SM: At the Kunsthalle Rostock I will show a selection of works from 5 different bodies of work. I will show a selection of drawings from the Lobeda series, created in the early 90s, with the aim of revealing key places and objects from my childhood. I will also exhibit paintings and works on paper from the Harvest series, relating to the post-war period in the Ukrainian Soviet Socialist Republic painted from photographs taken by Robert Capa. I will also present the Berlin Cycle which are works focusing on a young man shot in front of the Berlin wall. Various seascapes, still-lives and abstract works on paper will also be included in the exhibition.
Sabine Moritz, deeply unaware will be on show at Marian Goodman Gallery Paris runs until 23 October 2019 / Photo credits Rebecca Fanuele ©