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.
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.
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.