Sabine Wild is represented in the series “German Projections” with three new motifs. The avid traveler and ever-active artist has conquered Frankfurt in its urban and historical heart with three pointed, stitched photos. She concentrates on three topologies: first, on the middle-aged city hall on the Römerberg; second, on the ambitiously skyward financial district; and third, on the calm Sachsenhauser banks of the river Main, overlooking the impressive skyline.
Especially the last image proves to be a wonderful stroke of luck. An almond tree-like structure of wintery boughs creeps into the shimmering structure of vertical and horizontal cross hatches of the architecture images that define Sabine Wild. It is new and unconventional: the proliferating details of the canvas lend the overall motif a surprising stability, not unlike the soaring main towers across the riverbank. Through this structure, the horizontal flow of the river and the architectural perpendiculars are literally interwoven with one another. Ingeniously, the gaze is deeply pulled in, where it can rest upon the river landscape.
In contrast, the language of the second motif lends a precise impression, identified by the pulsating beats that rule in the city of finance. The soaring main tower forms an elevated point, separated from the broad cityscape. The significant longitudinal and perpendicular latticing is alternately composed in very soft and very hard sections of the image: an intentionally formal aesthetic. In this way a virtual vortex is generated, locking in the gaze of the viewer and simultaneously offering an interpretation of the financial world of the city. It is as if two powers, fatefully interwoven with one another, grab on to each other in the image: a received, urban yin and an ambitious yang.
In contrast, the third motif is like a gothic light fair. Here, the viewer sees the classic view of the Römerberg. With gothic towers in the background, the significant stepped gables of the famous houses appear to be transposed through a lengthwise strain. Light, fresh colors dominate. It is not an image in which middle-aged limitations can arise, although it is of what was once a middle-aged square. The dark plaster mirrors the color of the buildings. The blue of the sky floods the plaster, streaming undisturbed through the streetscape in the center of the image. Once again, Sabine Wild demonstrates her fine intuition for the polymorphous and twisted dynamic of big cities.
New York Projections
Sabine Wild’s “New York Projections” finally make it possible and sensible to describe the artist’s gesture in photography as it has otherwise only been known in the writings on the last two centuries of painting. In such writings, the emphasis is on the way of laying on the paint. The French Tachists of the 1950s made the artist’s obligation a therapy. They concentrated on the unintentional spot (tache) that the paint leaves behind on the canvas. Gestural, pastose, and elegant are the terms the art critics like to use to describe the energetic brushstrokes of full-blood painters such as Pierre Soulages or the early work of the American abstract expressionists Jackson Pollock, Willem de Kooning, or Franz Kline.
With her “New York Projections,” Wild has further developed her vertical works, looking more to digital methods. In doing so, she engenders an enduring tension that is sparked by the antithetical aesthetic means: dark, horizontal and vertical lines are contrasted and dissolved with bright areas of color; painterly passages contradict stark, graphic lots. Wild has emancipated herself from the camera’s dictatorship, throwing aside the tight corset of photographic technique. This art needs a new form of criticism – that of painting.
Following Harold Rosenberg, the critic of the art scene’s explosion in post-war New York, the abstract expressionists entered into intense dialogue with the canvas. Rosenberg coined the concept of “action painting”; for him, these were artists of action, painters who were not afraid of the answers that the wild bursts of color threw back at them.
What language do Wild’s photographs speak? Her large-format works most closely resemble the heavy-laid gestures of Franz Kline or the Tachist Pierre Soulages, packing energy into their horizontal and vertical slashes. But where Soulages drifts into deep black, Wild instead paints with color and in doing so elegantly deconstructs urban architecture.
And what answers do Wild’s “New York Projections” offer us? The photographic surface catches our eye, pulls us into the depths of the image as do the furrows and stains of color of large painting canvases. Similarly, there is a slight aura among the painterly elements of the “Projections,” which are transferred to the viewer. Sabine Wild is on her way to creating a new art form, one that is closely tied to photography and is yet loaded with the strengths of painting.
Sabine Wild, born 1962 in Padua, Italy, and living and working in Berlin, dissolves the “metropolis” into a pattern of lines, shapes, and colors in her latest series of city photographs. She translates the brisk movements, incessant to and fro, and fast rhythms of the city into images that are legible in a blink of an eye in their tranquility, but yet are tenacious and enduring as pictures.
As if a contemporary flaneur were strolling about, her photographs are settled somehow between mirage and reality. We search for the buzzing of the city in just the same way we have the insatiable need to return to quietude, find the calm in the eye of the urban hurricane after a full and hectic day. Which city did she capture in her pictures? The city itself. Indeed it is no secret to be revealed: Sabine Wild created her newest series of work in New York City, which is still for many of us the city of all cities, the culmination point for millions of dreams and aspirations. As Frank Sinatra once sang, “if you can make it there, you can make it anywhere...”
In Wild’s forest photographs “Verticals” and “White China” she captures various abstract sentiments of the different seasons, appearing like a counter-design to the urban metropolis: the silence of a winter day between tree trunks and roots, or the greenness of spring with colorful spots of pedestrians. What Sabine Wild develops through formal resolutions and impressionist explosions, dematerializations and light tricks is decorative in the best sense. She has successfully translated the noise and the silence of the forest into a visual composition. She has skillfully joined the painterly gesture with the lucid smoothness of photography and managed a pleasant release for the eye.
|1962||Born in Padua, Italy|
|1985-1990||Studied Germanic Studies, Linguistics, and Spanish in Bielefeld, Münster, Cologne, and Berlin|
|1990||MA from the Technical University of Berlin|
|2005-Present||Member of the New Society for Visual Arts (NGBK)|
|2006||Co-founder of Galerie en passant in Berlin|
|2007-Present||Visual Arts Advisor for the Gemeinschaft der Künstlerinnen und Kunstförderinnen e.V. (Association of Artists and Art Patrons) (GEDOK)|
|2008||Member of neunplus, a photographers’ collective for the advancement of auteur photography|
|2008||Founded the Kulturrundgang Südwestpassage with Susanne Wehr in Berlin|
|2009||Founded the Scharli Balllon artist’s group with Christina Marotzke and Andrea-Katharina Schraepler|
|Lives and works in Berlin, Germany|
Solo Exhibitions (Selection)
|2014||Megacities – Fotografien von Sabine Wild, Haus der Architekten, Düsseldorf, Germany|
|2012||Ausstellungszyklus Dresden: Contemporary. Landscapes, Art Corporates, Galerie Coselpalais, Dresden, Germany|
|2011||Urban Structures, Galerie Meisterschüler, Berlin, Germany|
|Rasante Städte, Art Society of Tauberbischhofsheim, Germany|
|2010||Rauschen, Galerie Dengler und Dengler, Stuttgart, Germany|
|Stuttgart, Galerie Dengler und Dengler, Stuttgart, Germany|
|2008||Sightseeing, Galerie Dengler und Dengler, Stuttgart, Germany|
|Aufriss, Galerie en passant, Berlin, Germany|
|Vertikale, ARD-Hauptstadtstudio, Berlin, Germany|
|Freizeitarchitektur in Nordrhein-Westfalen, Haus der Architekten, Düsseldorf, Germany|
|2007||Fragile Welten, Galerie en passant, Berlin, Germany|
|2006||Suppenküche, Fenster 61, Berlin, Germany|
|2005||Rostige Aussichten, Federal Chamber of Architects, Berlin, Germany|
Group Exhibitions (Selection)
|2014||Art Shoes – Shoes in Contemporary Art, Galerie Petra Nostheide-Eycke, Düsseldorf, Germany|
|2013||Konstantin Schneider – In Kunstkontakter We Trust, RAR Galerie, Berlin, Germany|
|2012||Kaffee Konstantin – Auf der Suche nach dem verlorenen Kapital, Michaela Helfrich Galerie, Berlin, Germany|
|X-City, Matthias Hagemann und Sabine Wild, EMG-Art Guangzhou, China|
|Nature! The Mirror of Human Existence, Fotofestival Seoul, South Korea|
|Fremdsehen, Galerie en passant, Berlin, Germany|
|Those were the days, EMG-Art, Beijing, China|
|Schwarz, Galerie Dengler und Dengler, Stuttgart, Germany|
|2011||Menschenskinder - Wunder bei Walz, Galerie Fasanen37, Berlin, Germany|
|Shadows of the Bright, Berlin Art Projects, Germany|
|Kälte, Galerie Dengler und Dengler, Stuttgart, Germany|
|Naked, Galerie en passant, Berlin, Germany|
|2010||European Month of Photography, Galerie en passant, Berlin, Germany|
|50 Jahre GEDOK Berlin 1960-2010, Kunstraum Kreuzberg/Bethanien, Berlin, Germany|
|2009||Zwölf 2009, Galerie en passant, Berlin, Germany|
|Action Painting Today, Galerie Dengler und Dengler, Stuttgart, Germany|
|Kunst im ARD-Hauptstadtstudio 2003-2009, Berlin, Germany|
|2008||3rd European Month of Photography, Berlin, Germany|
|Salz + 16 Lösungen, Villa Kobe, Halle, Germany|
|2007||Kleine Heimat - Kleine Fluchten, Verborgenes Museum, Berlin, Germany|
|Große Kunstausstellung, Halle, Germany|
|8. Klasse Meisterschueler: Paare, Galerie Meisterschüler, Berlin, Germany|
|2006||A 100, Kommunale Galerie, Berlin, Germany|
|Dialog Analog Digital - Synopse 06, Willy Brandt Haus, Berlin, Germany|
|Creative Germany. Bettina Schmiegelt, Cologne London New York, 2009.|