In Sarah Buckner’s new exhibition chances are the mediumistic, the irrational, fabulous, invisible and the romantic come to life. Her paintings, resulting from an intensive creative phase during recent months, capture emotions and moods that are difficult to put into words.
Sarah Buckner’s figures and narratives cannot be assigned to a defined world. They seem to be in between, not quite real and yet not wholly imaginary. Determined by a sensitive, sometimes watercolour-like treatment of oil resin paints, her works are a combination of photographic notes on places and situations that undergo a transformation in to fantastic spheres. Their ambiguity captivates the viewer.
An essential part of the exhibition is not only the examination of personal and societal attributions, hopes and abysses, but also of the world of literature, fantasy and fables. In the group of works inspired by Lewis Carroll’s Through the Looking-Glass, the connection to individuality and romanticism is evident. Scenes full of childlike naivety mix with real cruelty and threatening darkness. In Pleroma (2019) a blank, mirror-like book is opened. Carroll’s Alice climbs through the mirror into another world, into the Behind, thus escaping reality. Books can open access to other worlds – but how can an empty book be read in which one reflects oneself? The play with the visible and the invisible, with illusion and disillusionment, is a paradox that Sarah Buckner addresses in her oeuvre, without pursuing the claim to enlightenment and uniqueness.
Courtesy the artist and Ermes–Ermes