Sabine Finkenauer

FINKENAUER PAINTS MINIMALIST ARCHITECTURE
In her latest exhibitions, Sabine Finkenauer (1961) has focused on architectural aspects, apparently more hedonistic and formal, and has left behind a side that could even be considered romantic because of its themes (related to nature, childhood and feelings), although not because of a happy and luminous tone that is exceptional in today's art. This tone is maintained in her recent work and I like to believe that it anticipates, that it prefigures a different art and future, already free from post-modern cowardice and the old excuses of nihilism.
Perhaps the painter has changed to continue playing differently with forms, and to make it clear that her previous work was also a happy and a serious game of forms. Even in this, this Bavarian artist remembers Paul Klee, and I am not saying that she imitates him, but that they are soul mates. In any case, their vision of the world and their conception of artistic creation are very similar. Like Klee, Finkenauer knows how to combine her plastic and musical knowledge to compose a successful kind of paramusical abstraction, and she does so without renouncing the poetic recreation of visible forms, the celebration of nature, including human nature. And like Klee, he manages to reconcile lucidity and tenderness, rigor and freedom, humor and poetry.
In her paintings she uses acrylic, gouache and pencil to compose abstract architectural landscapes and chromatic compositions. Despite appearances, we are faced with the same minimalist and warm poetics that was present in series ... show more

FINKENAUER PAINTS MINIMALIST ARCHITECTURE
In her latest exhibitions, Sabine Finkenauer (1961) has focused on architectural aspects, apparently more hedonistic and formal, and has left behind a side that could even be considered romantic because of its themes (related to nature, childhood and feelings), although not because of a happy and luminous tone that is exceptional in today's art. This tone is maintained in her recent work and I like to believe that it anticipates, that it prefigures a different art and future, already free from post-modern cowardice and the old excuses of nihilism.
Perhaps the painter has changed to continue playing differently with forms, and to make it clear that her previous work was also a happy and a serious game of forms. Even in this, this Bavarian artist remembers Paul Klee, and I am not saying that she imitates him, but that they are soul mates. In any case, their vision of the world and their conception of artistic creation are very similar. Like Klee, Finkenauer knows how to combine her plastic and musical knowledge to compose a successful kind of paramusical abstraction, and she does so without renouncing the poetic recreation of visible forms, the celebration of nature, including human nature. And like Klee, he manages to reconcile lucidity and tenderness, rigor and freedom, humor and poetry.
In her paintings she uses acrylic, gouache and pencil to compose abstract architectural landscapes and chromatic compositions. Despite appearances, we are faced with the same minimalist and warm poetics that was present in series

between figurative and abstract as those starring flowers and girls with empty faces, like a field of color after Rothko.