Sabine Moritz’s work explores the dynamics of how memory is constituted and the way in which it is subject to a continual process of deformation and reformation. Described by Hans Ulrich Obrist as 'memories made visual – the fleeting impulses of the past rendered concrete in art', Moritz’s paintings, by turns abstract and figurative, activate an awareness of time. They are records of specific, highly personal experiences that open out onto the general horizon of a collective history, from the artist’s childhood in the East German town of Jena, to the abstract notions of transience, decay and seriality. Mortiz’s work may be interpreted, above all, as a protest against forgetting, while also stating in no uncertain terms the inherent fragility, mutability and immateriality of memory.

Moritz paints and draws flowers, objects, but also ships, helicopters, houses and people. The starting point is her fascination for reality. Nature is equally important as manmade objects or reality that we cannot see. Together they form the artist’s visual cosmos.

Moritz often draws or paints flowers that she has in her studio and the painting of these is a representation of the present, in which one finds themselves thinking about something distant, as in a sort of daydream.

Sabine Moritz (b. 1969) lives and works in Cologne. Recent solo exhibitions include 'Under the Skin' and 'Heart of Drought', Pilar Corrias, London (2023); 'Lobeda oder die Rekonstruktion einer Welt', Lyonel-Feininger-Galerie, Quedlinburg (2022); 'Mercy', Pilar Corrias, London (2021); 'Journal Entries', HENI Leviathan, London (2020) and 'Sterne und Granit', Kunsthalle, Rostock (2019).