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The best way to approach one of Sarah Bogner’s joyful paintings, is to simply observe the anthropomorphic creatures populating her world: half horse, somewhat human, but fully formed they cavort around, dancing, smoking. Their mouths are open, wisps of smoke or speech-bubbles that curl in complex forms escaping: are they in conversation, or merely sharing a convivial moment smoking cigarettes? Similarly, the smiling little ambiguous head/eye creatures, dapper in their cowboy hats, float against a calm lilac background. Vielfreunde Wir Alle (“Manyfriends, us all”), 2024, are not unhappy about their lack of bodies. The horse-creature and the “friend”, as she calls the disembodied heads that appear serially in her works, are her companions in painting, metaphors for artistic and emotional states. Her protagonists act as ciphers to a personal mythology: neither horses, nor people, nor eyes, nor heads, they are nonethless fully formed characters with intimate friendships that a viewer can…
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Press Release
The best way to approach one of Sarah Bogner’s joyful paintings, is to simply observe the anthropomorphic creatures populating her world: half horse, somewhat human, but fully formed they cavort around, dancing, smoking. Their mouths are open, wisps of smoke or speech-bubbles that curl in complex forms escaping: are they in conversation, or merely sharing a convivial moment smoking cigarettes? Similarly, the smiling little ambiguous head/eye creatures, dapper in their cowboy hats, float against a calm lilac background. Vielfreunde Wir Alle (“Manyfriends, us all”), 2024, are not unhappy about their lack of bodies. The horse-creature and the “friend”, as she calls the disembodied heads that appear serially in her works, are her companions in painting, metaphors for artistic and emotional states. Her protagonists act as ciphers to a personal mythology: neither horses, nor people, nor eyes, nor heads, they are nonethless fully formed characters with intimate friendships that a viewer can…
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