Sandra Lieners integrates in her work the most recent aspects of a figuration which can be situated after certain tendencies... Read More
Sandra Lieners integrates in her work the most recent aspects of a figuration which can be situated after certain tendencies of post-modernism. Her nods to the art of Michel Majerus place her in a continuity of a strong realism that draws her thematic resources and technical processes from the thesauri of images propagated by the Internet and the international art scene. She combines them and mounts them in formal configurations inherited from cubist and dadaist collages, but as seen through the glasses of pop art.
Her well highlighted technical virtuosity allows her to brilliantly slide, stylistically, from figuration to abstraction. She mischievously takes advantage of this ambiguity by confronting and juxtaposing, as demonstrated by the two parts of the diptych, an almost hyper realistic main motif in the span of a tachist dripping. Like at the Convent of San Marco, in Florence, where the Angelico deployed its religious histories above a false marble base, “Pollockian” before its time!
– Marta Cencillo-Ramirez, Bernard Ceysson, Drs Cornelieke Lagerwaard, Dr Malgorzata Nowara, Christine Walentiny, 2018
