In the works of Sina Hensel, surfaces often record specific situations of light and colours which she finds in a place at specific times or seasons. A place becomes a source of research and experimentation, expanding its physical and conceptual limits, in order to question and rethink it. The observation of places also serves as a process of positioning, of orientation. For instance, The Wizard of Oz contrasts the association of progress and movement along the linear yellow brick road with the associations of being lost and intoxicated in the field of poppies. These open landscapes don’t necessarily lead to a centre and there is more than one possible ending. 

How does our environment shape our thoughts, our actions and movements?
Investigating the consequences of that question, her works can be understood as a documentation of the environmental conditions of a particular place at a particular time. A greeting with the suspense of memory.
Various fabrics are used as sponges for colours. This way the paint becomes a whole with the textile while residing as pigment. The process of formulating the colour is imbedded in a scientific approach towards the nature of painting, while raising questions about care and sustainability, being aware that ecological responsibility always starts with oneself. There are many other ways for colour to be fixed yet they all refer to the ambient environment of the production of the work. For some works she cultivates algaes to dye the fabric. Knowing that this organism always responds to a certain surrounding with its specific warmth and light, this process complements her work, acknowledging that the power of a body to affect other bodies includes a corresponding and inseparable capacity to be affected. At the end the various dyed fabrics are stitched togeher in a variety of patterns which is determined by the process of making the paint.