Analia Saban
Pigmente
July 7–August 26, 2017
Berlin

In a practice that looks to understand the very material nature of painting, Analia Saban works across sculpture, printmaking, photography and painting itself to pull apart art historical tradition through investigations into the physical properties of matter. Pigmente, her fifth solo exhibition at the gallery, will run concurrently with Folds and Faults, a solo show at the Los Angeles gallery.

A recent core interest for Saban has been an investigation into the history of paint formulas and how they have shaped art history. She uncovers at an almost microscopic level the entwined histories of artists and their mediums. In these new works the use of pigment makes reference to historical styles and methods of painting, as well as borrowing from modern technologies.

 

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An example of this approach can be witnessed when Saban carefully removes a small section of yellow paint off the quarter panel of an SUV and reapplies it to raw linen, with both parts displayed side by side as one work. Despite the resoundingly modern appearance of the saccharine yellow car part, Saban has looked to the pre-industrial history of paint. The labour of removing the automotive paint and turning it into a pigment is not unlike the work of Medieval and Renaissance artists who constantly searched for the finest minerals to grind for their paints. Saban’s efforts constitute a re-enactment of this very process.

In a more abstract way, this can also be observed in four works from the Markings series in which Saban delicately peels off and then reapplies the photographic emulsion of the surface of photographs to an adjacent white canvas; the pigment on the photograph is treated as a skin, surgically removed. Just as paint has been excised from a car part to produce a pigment, here an image of pigment is used to produce a mark: a painterly swathe or relocated text from the pigment bottles depicted in the photographs.

Saban’s methodology takes on alternate forms in other works in the exhibition: for Azurite Weft (in Seven Steps), chunks of deep blue azurite are sewn into a hand-woven textile that is dyed using the rock’s powdered form, and in the Graphite Cluster and Cochenille Cluster series, she re-appropriates the techniques of encaustic painting—one of the oldest methods of affixing pigment to a surface, dating back to Ancient Greece. In Graphite Cluster it is rocks of graphite in their mineral form that protrude from the perfect sheen of the graphite powder/wax formula, and in Cochenille Cluster small plant-lice—and the pigment produced from them when dried and ground—are worked into the encaustic surface. Here, a constellation of the silver insects balances their powdered counterpart, which takes the form of a dried bloodstain. Pigment as both raw and processed is presented simultaneously, physically and metaphorically fusing together into the theme, support, subject and medium of the work.

If a polarity can be established between industrially produced commercial paints, and hand-ground pigment, Saban looks to understand both the making and thinking of art within each of these processes. In her sometimes literal and laborious mining of the past, the pre-industrial approach to materials is decidedly poetic. The artist engages with the complex relationship between pigment, medium and support, employing materials that span the earliest painting technologies to contemporary industrial practices.

 

Installation Views
Analia Saban – Pigmente – Berlin
Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin
Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin
Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin
Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin
Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin
Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Details
Analia Saban – Pigmente – Berlin

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Analia Saban – Pigmente – Berlin

Analia Saban
Pigmente
Installation view, Sprüth Magers, Berlin, July 7–August 26, 2017
Photo: Timo Ohler

Details
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Exhibited Works
Analia Saban – Pigmente – Berlin
Analia Saban
Markings (from Cadmium Red, L. Cornelissen & Son), 2016
More views

Analia Saban
Markings (from Cadmium Red, L. Cornelissen & Son), 2016
Digital C-print on resin-coated paper and primed canvas
152.4 × 101.6 cm
60 × 40 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Markings (from Ultramarine Blue, Holbein Artist Materials), 2016
More views

Analia Saban
Markings (from Ultramarine Blue, Holbein Artist Materials), 2016
Digital C-print on resin-coated paper and primed canvas
101.6 × 152.4 cm
40 × 60 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Markings (from Cadmium Yellow Extra-Deep, Old-Holland Classic Colours), 2016
More views

Analia Saban
Markings (from Cadmium Yellow Extra-Deep, Old-Holland Classic Colours), 2016
Digital C-print on resin-coated paper and primed canvas
101.6 × 152.4 cm
40 × 60 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Markings (from Cadmium Yellow Lemon, Schmincke), 2016
More views

Analia Saban
Markings (from Cadmium Yellow Lemon, Schmincke), 2016
Digital C-print on resin-coated paper and primed canvas
101.6 × 152.4 cm
40 × 60 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Cochenille Cluster, 2017
More views

Analia Saban
Cochenille Cluster, 2017
Whole and ground cochenille (plant lice) on encaustic paint on panel
101.6 × 76.2 × 5.4 cm
40 × 30 × 2 1/8 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Graphite Cluster, 2017
More views

Analia Saban
Graphite Cluster, 2017
Rough and ground graphite on encaustic paint on panel
101.6 × 76.2 × 7.6 cm
40 × 30 × 3 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Graphite Cluster #5, 2017
More views

Analia Saban
Graphite Cluster #5, 2017
Rough and ground graphite on encaustic paint on panel
147.3 × 121.9 × 5.7 cm
58 × 48 × 2 1/4 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Azurite Weft (in Seven Steps), 2017
More views

Analia Saban
Azurite Weft (in Seven Steps), 2017
Rough and ground azurite in linen canvas on panel
61 × 45.7 × 3.8 cm
24 × 18 × 1 1/2 inches

More views
Analia Saban – Pigmente – Berlin
Analia Saban
Markings (from Nissan Xterra Quarter Panel), 2017
More views

Analia Saban
Markings (from Nissan Xterra Quarter Panel), 2017
Sheet metal automobile quarter panel and scraped automobile paint on linen on panel
175.3 × 132.1 × 25.4 cm
69 × 52 × 10 inches

More views
Details
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Cadmium Red, L. Cornelissen & Son), 2016
Digital C-print on resin-coated paper and primed canvas
152.4 × 101.6 cm
60 × 40 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Cadmium Red, L. Cornelissen & Son), 2016 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Ultramarine Blue, Holbein Artist Materials), 2016
Digital C-print on resin-coated paper and primed canvas
101.6 × 152.4 cm
40 × 60 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Ultramarine Blue, Holbein Artist Materials), 2016 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Cadmium Yellow Extra-Deep, Old-Holland Classic Colours), 2016
Digital C-print on resin-coated paper and primed canvas
101.6 × 152.4 cm
40 × 60 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Cadmium Yellow Extra-Deep, Old-Holland Classic Colours), 2016 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Cadmium Yellow Lemon, Schmincke), 2016
Digital C-print on resin-coated paper and primed canvas
101.6 × 152.4 cm
40 × 60 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Cadmium Yellow Lemon, Schmincke), 2016 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Cochenille Cluster, 2017
Whole and ground cochenille (plant lice) on encaustic paint on panel
101.6 × 76.2 × 5.4 cm
40 × 30 × 2 1/8 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Cochenille Cluster, 2017 (detail)

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Cochenille Cluster, 2017 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Graphite Cluster, 2017
Rough and ground graphite on encaustic paint on panel
101.6 × 76.2 × 7.6 cm
40 × 30 × 3 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Graphite Cluster, 2017 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Graphite Cluster #5, 2017
Rough and ground graphite on encaustic paint on panel
147.3 × 121.9 × 5.7 cm
58 × 48 × 2 1/4 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Graphite Cluster #5, 2017 (detail)

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Graphite Cluster #5, 2017 (detail)

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Graphite Cluster #5, 2017 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Azurite Weft (in Seven Steps), 2017
Rough and ground azurite in linen canvas on panel
61 × 45.7 × 3.8 cm
24 × 18 × 1 1/2 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Azurite Weft (in Seven Steps), 2017 (detail)

Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Nissan Xterra Quarter Panel), 2017
Sheet metal automobile quarter panel and scraped automobile paint on linen on panel
175.3 × 132.1 × 25.4 cm
69 × 52 × 10 inches

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Nissan Xterra Quarter Panel), 2017 (detail)

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Nissan Xterra Quarter Panel), 2017 (detail)

Analia Saban – Pigmente – Berlin
Analia Saban – Pigmente – Berlin

Analia Saban
Markings (from Nissan Xterra Quarter Panel), 2017 (detail)

Details
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Selected Press

An Artist at Home on the Fault Lines 
The New York Times, article by Jori Finkel, June 30, 2017

Analia Saban
Flaunt, feature by Alison Green, November 2017

After Bending Marble, Analia Saban Grinds Car Lacquer, Minerals, and Insects for Her Paintings 
Artnet News, article by Hili Perlson, August 10, 2017

Berliner Kunstgriff
Gallerytalk.net, article by Hannah Schraven, July 4, 2017