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BRENDA SABBAGH
In my paintings I seek to capture the idea of the instantaneous and the invisible of everyday life. I feel like a pictorial photographer, I think of the works as frames of a cinematographic sequence. I am interested in painting the essence of the moment, what is not seen, capturing what is in people sitting, lying down, sleeping, thinking, sad, that intimacy is what attracts me, in each painting I try to immortalize the sensation that runs through the scene.
When I paint, the action of comes to me, immersing myself in water, in the wateriness of the painting itself. What separates the surface of the water and the surface of the air, when one is submerged, is a two-dimensional and abstract separation surface that cannot be seen but can be measured. This point of union between one surface and another is what I am interested in working on: between figuration and geometrization, between coherence and incoherence. I think of it as a healing act, both immersing yourself in the water and immersing yourself in the paint.
I see my work as a place where different ways of operating and assimilating personal historical processes take place. I am interested in investigating some socio-cultural remnants or debris that are integrated with this personal history and ultimately embodied in the works. I work with materials that refer to my own history: remains, fabrics, fragments of works and clothing that are re-signified in the present. It is important for me to make an analysis of each of them, to classify them and to proceed to the action of cutting them, rolling them, burning them, sewing them, in a word, to intervene in them. Conceptually, I am interested in the figure of the square as an idea, a form of organization that synthesizes a space, forming a territory of possibilities that repeats itself in an infinite plot. I articulate these plots as a corporeal space in which I can dialogue and transform, generating a story with new poetry.
