Frank Badur on Sara Sosnowy

Sara Sosnowy’s Gold Drawing # 77 evokes the fact that the value system of any society is shaped and defined by a continuous process of cultural interchange. Sosnowy’s very intensive work on paper appears, on the one hand, as a subtle reference to the reductive work of the French artist Yves Klein. On the other hand, her delicate drawing opens the door to intercultural dialogue with India’s ritualistic tantric art, the principal quality of which lies in its complex creative freedom. In this art form we encounter small colorful gouaches on paper, as well as abstract diagrams visualizing complex principles of cosmic order. Vacillating between crude imperfection and utter sophistication, often of extreme simplicity and touching sensuality, these works are always intent on creating a spontaneous relationship between artist and beholder. It is not the here and now of an immediate reality that is being interpreted but a world beyond. It is in this sense – as an image beyond images – that I view Sosnowy’s energy-laden Gold Drawing # 77. The vibrant “all-over” of the golden circles, a form as abstract as universal, presupposes almost automatically the deep ultramarine blue background. The congenial imprecision of the gently haptic dots bears witness to their individual process-related creation and to their autonomy as individual parts, which in their multitude form a harmonious whole. It seems as if the artistic result has come about quite effortlessly, its intuitive verity unimpaired by any intellectual deliberation.

Translation by Jörg W. Ludwig

This entry was posted in Frank Badur, Sara Sosnowy. Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.