Sabine Moritz's oil paintings and pastel, charcoal, and pencil drawings reference a wide variety of subjects, ranging from different plants and aircrafts to chemical laboratories and peopled civic spaces. Newspaper clippings, magazine articles, and her own photographs are useful.
Read MoreWithin restlessly agitated painted fields, Moritz's densely packed, brushed-on daubs and saturated smears intricately delineate these decontextualised, half-remembered forms and locations, aided by photographs.
The rendered images vary in paint quality and mark density. Some are glutinously embedded in the picture plane, as denying spatial depth and the subject's ability to retreat from the viewer is a way of forcing time to freeze. Moritz takes her time contemplating the instant of the rendered action, and readjusting components within a turbulent sea of spidery marks. Sometimes she paints with oil paint onto lithographs, which include Sea King 101 (2018) and Sea King 98 (2017).
Some drawings are very easy to decipher as images, while others require much time to study and be aware of morphological nuances, especially in the large paintings. Examples include Tiger (2016), Three Skulls (2016), Snow (2016), Cabin 15 (2015), Dusk (2016), Ghost Town 1 (2016), Mine 1 (2021), Kamchatka 1 (2021), and Circus1 (2021).
In 2009 Moritz showed the curator Hans Ulrich Obrist a group of over 100 pencil drawings that later became a book, JENA Düsseldorf, and an exhibition at the Kunsthaus Sans Titre in Potsdam in 2011.
Other published collections of images include Deeply Unaware (2019), Storm (2016), Helicopter (2014), Limbo (2013), and Roses (2010).
