Susanne Schwieter
Susanne Schwieter’s art pulses with a theatrical rhythm, a nod to her successful tenure as a set and costume designer
Sali Muller is a young, up-and-coming artist. Being a sensitive analyst of habits, vision, and perception she focuses on concepts such as selfishness and, ultimately, finiteness. Primarily she deals with the non-depiction of a person, especially in the medium of the installation.
As a matter of fact, Sali Muller with her conceptual art investigates the role of the individual in relation to himself and his environment. She also explores the question of how man alienates himself from nature and his own self-image. Furthermore, she works with photography, objects, light, and sound installations.
Moreover, her work involves stimulating reflection and, quite significantly, mirrors. The mirror-works belong to an aspect of their oeuvre in which the artist focuses on the subjectivity of perception. In fact, she takes the mirror as the point of departure for a narrative of anti-reflection.
That is to say, Sali Muller with her dysfunctional mirror works points out the questionability of our culture of seeing. In effect this is achieved by countering the contemporary obsession of transparency of all private processes with skepticism and irony — just think of the self-delusion on Facebook and other Internet platforms.
‘As time goes by, the installations are going through substantial changes, just like human beings. During the continuous disassembly into elementary parts the artworks are taken apart, losing their original shape and steadily their raison d’être (‘reason to be’).
The presence or substance is reduced to a minimum through the destruction until only the spiritual existence remains. Those works confront the viewers with the destructive mentality and behavior of human beings and their own self-destruction.’ — Sali Muller
Susanne Schwieter’s art pulses with a theatrical rhythm, a nod to her successful tenure as a set and costume designer
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