Glass Display Detail IX, Öl und Acryl auf Leinwand, 115 x 80 cm, 2014
In her paintings, the artist Sandra Pulina interrogates the potentials of a formal-abstract organization of painterly surfaces by integrating spatial objects in her compositions. Museum objects, found surfaces and various ordering systems are transformed into representational codes. With cool calculation, her works thereby perform the interplay of image and its likeness. This experiment of abstraction and figuration, of relation to the external and artistic self-reflection is emphasized in her works by integrating smaller images into her test series that seem like derivatives of the pictorial inventory of the larger paintings. What might simply be a code in the painting is thus turned into a spatial object when it is detached and put on the wall by itself. Which position can be trusted? Is it the larger narrative of the code, or the smaller illusion of painterly autonomy? Pulina does not answer this question and thereby undermines the myth that painting is a self-contained affair on white walls.
Gerrit Gohlke, 2012
Glass Detail, Öl auf Leinwand, 40 x 40 cm, 2012
Carpetfragments, Pigmentkreide auf Leinwand, 160 x 55 cm, 2016
Soho tin ceiling III, Öl auf Leinwand, 50 x 40 cm, 2016
weiter auf S. 190, Siebdruck auf Papier, 2017
Sandra Pulina’s examination of painting as a medium that has frequently been declared dead is highly impressive due to its experimental intensity. Within a contemporary context where the perception of reality is deeply and increasingly unsettled by supposedly documentary and digital media, the artist allows herself the freedom of a purely painterly look at the reality behind the objects – and thereby to reflect on the particular cultural relevance of such a look through painting. In this, she succeeds without any theoretical pretentiousness.
Dr. Annelie Pohlen, 2014
Painting, Drawing, Installation
Speicher II / Atelier 4.7