The immediacy of drawing is an important premise in Sandra Boeschenstein’s work: it is a precondition to “the simultaneous traversal and observation of the transitions between perception and thought” (Boeschenstein), in which the artist is mainly interested. She works with images as her primary tool of insight when searching for alternatives to a static concept of meaning, and practises a graphic approach to “situations close beside the relaxing state of causality” and work “with the constructing and decaying energies of meanings”.
\nBoeschenstein’s graphic oeuvre traces the correspondences and conditions of perception and thought in differing, mainly cyclic “Statements” and always novel forms, whereby writing and text play a natural part. Regarding Boeschenstein’s work Michael Glasmeier notes that art, and above all drawing, is not destined to give answers: rather, in the spirit of poetry, it reveals mysteries \u2012 whatever their nature. “This poetic dimension forms the staging for mental and spatial mobilities, for glaring constellations of action, subtle perceptual events, temporal thrusts, and transparencies that can be so boundary-eliminating and simultaneously constitutive that they evoke astonishment and tell stories that take \u2013 must take \u2013 a different course with each viewer.”<\/p>\n
Sandra Boeschenstein lives and works in Zurich. She is currently receiving a grant from Canton Schaffhausen, the Stanley Thomas Johnson Foundation, the Ernst and Olga Gubler-Habl\u00fctzel Foundation, the Georges and Jenny Bloch Foundation, and the Casinelli-Vogel Foundation and is a guest at K\u00fcnstlerhaus Bethanien.<\/p>\n
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