Sarah Loibl
Website under construction
In times of despair, the need for orientation grows: we invoke a cosmic intelligence, seeking answers in the stars. Subjective experience turns toward the reading of signs, of patterns, toward the search for an instance that knows more than we do.
My current artistic research situates itself precisely in this zone: at the intersection of intuition, imagination, and what is commonly referred to as the metaphysical or the occult. It begins with the question: Where does inspiration come from? What is the relationship between cognitive processes, the body, and possible forms of an “outside”?
I am currently undertaking training as a medium, thereby expanding my practice — previously oriented primarily toward the material and the physical — toward an investigation of immaterial and non-visible dimensions.
I understand this training not as the acquisition of a stable system of knowledge, but as an experimental, performative setup in which I explore the possibility of coming into contact with invisible, metaphysical levels, and in which I test practices of receiving, translating, and transmitting.
In this context, I see the figure of the medium as a kind of threshold figure that calls into question both the stability of the autonomous subject and the clarity of authorship. I understand the ambivalence of the esoteric, oscillating between the promise of knowledge and uncertainty, as an artistic field of inquiry, as a dispositif that moves between projection, intuition, and the Other.
My painterly work already operates at this threshold of visibility, withdrawal, and processuality. The use of transparent, large-scale image carriers destabilizes the classical parameters of painting, particularly its closure and its temporal-spatial fixation. Transparency enables the superimposition of form and colour as well as the inversion of front and back.
The painting process itself, shaped by movement, oversized scale, and the fragility of materials, is one of loss of control and bodily engagement: a stroking, pushing, circling, or even bumping.
Starting from this practice and the assumption that the one image of sth does not exist, I have recently begun to ask:
How can painting respond to phenomena that lie beyond the immediately visible or materially graspable? And: What do the spirit beings have to say?
My work is on Instagram
Aliquam a rutrum est, in porta orci. Praesent vitae lacus fermentum, pulvinar leo a, dictum enim. Curabitur sagittis libero ac consequat mattis. Mauris elit elit, malesuada at malesuada sit amet, ornare sed purus.
Coming Soon …
Person responsible for content according to § 55, Para. 2 of the German Interstate Broadcasting Agreement (RStV)
Sarah Loibl, Sprengelstr.2, 13353 Berlin, Germany, 0049 17681987172
Photos were made by Thomas Bruns, Valerie Schmidt, Paula Winkler, Riccardo Malberti, Alexander Gehring, Sebastian Schobbert, Marcus Schneider, Andrea Fumagalli und Bodo Schlack.
The content and works published on this website are governed by the copyright laws of Germany. Any duplication, processing, distribution or any form of utilisation beyond the scope of copyright law shall require the prior written consent of the author or authors in question. Please contact herefor VG Bild-Kunst.
My site does contain links to external websites, the content of which is beyond our control. Consequently we cannot assume any warranties for such third party content. The respective provider or operator of such websites is always responsible for the content of linked sites.
At the time the links were inserted, the linked sites were reviewed for potential legal infractions. At the time the links were established, no illegal content was evident on these sites. However, it would be unreasonable to expect us to perform constant content checks of linked sites without concrete indications of legal infractions. If we should learn of legal infractions, we shall remove such links immediately.
In times of despair, the need for orientation grows: we invoke a cosmic intelligence, seeking answers in the stars. Subjective experience turns toward the reading of signs, of patterns, toward the search for an instance that knows more than we do.
My current artistic research situates itself precisely in this zone: at the intersection of intuition, imagination, and what is commonly referred to as the metaphysical or the occult. It begins with the question: Where does inspiration come from? What is the relationship between cognitive processes, the body, and possible forms of an “outside”?
I am currently undertaking training as a medium, thereby expanding my practice — previously oriented primarily toward the material and the physical — toward an investigation of immaterial and non-visible dimensions.
I understand this training not as the acquisition of a stable system of knowledge, but as an experimental, performative setup in which I explore the possibility of coming into contact with invisible, metaphysical levels, and in which I test practices of receiving, translating, and transmitting.
In this context, I see the figure of the medium as a kind of threshold figure that calls into question both the stability of the autonomous subject and the clarity of authorship. I understand the ambivalence of the esoteric, oscillating between the promise of knowledge and uncertainty, as an artistic field of inquiry, as a dispositif that moves between projection, intuition, and the Other.
My painterly work already operates at this threshold of visibility, withdrawal, and processuality. The use of transparent, large-scale image carriers destabilizes the classical parameters of painting, particularly its closure and its temporal-spatial fixation. Transparency enables the superimposition of form and colour as well as the inversion of front and back.
The painting process itself, shaped by movement, oversized scale, and the fragility of materials, is one of loss of control and bodily engagement: a stroking, pushing, circling, or even bumping.
Starting from this practice and the assumption that the one image of sth does not exist, I have recently begun to ask:
How can painting respond to phenomena that lie beyond the immediately visible or materially graspable? And: What do the spirit beings have to say?
My work is on Instagram
Aliquam a rutrum est, in porta orci. Praesent vitae lacus fermentum, pulvinar leo a, dictum enim. Curabitur sagittis libero ac consequat mattis. Mauris elit elit, malesuada at malesuada sit amet, ornare sed purus.
Coming Soon …
Person responsible for content according to § 55, Para. 2 of the German Interstate Broadcasting Agreement (RStV)
Sarah Loibl, Sprengelstr.2, 13353 Berlin, Germany, 0049 17681987172
Photos were made by Thomas Bruns, Valerie Schmidt, Paula Winkler, Riccardo Malberti, Alexander Gehring, Sebastian Schobbert, Marcus Schneider, Andrea Fumagalli und Bodo Schlack.
The content and works published on this website are governed by the copyright laws of Germany. Any duplication, processing, distribution or any form of utilisation beyond the scope of copyright law shall require the prior written consent of the author or authors in question. Please contact herefor VG Bild-Kunst.
My site does contain links to external websites, the content of which is beyond our control. Consequently we cannot assume any warranties for such third party content. The respective provider or operator of such websites is always responsible for the content of linked sites.
At the time the links were inserted, the linked sites were reviewed for potential legal infractions. At the time the links were established, no illegal content was evident on these sites. However, it would be unreasonable to expect us to perform constant content checks of linked sites without concrete indications of legal infractions. If we should learn of legal infractions, we shall remove such links immediately.