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Sandra Peters Main Profile Image

Sandra Peters

Sandra Peters

Abu Dhabi, UAE

Installation, Sculpture • Born in Bonn, Germany • Studied at Dresden, Germany

Published  01/10/2018   |   Updated  20/09/2020

Notes

In my work as a visual artist, I am concerned with architecture and urban space. My focus is on the reciprocal relationships and influences that exist between people and architecture, and I am committed to exploring possibilities for creating spaces that stimulate reflection on the cultural structures within which we move, and to rendering them experientially accessible in aesthetic terms. During visits to Los Angeles in 2011 and 2012, I became...

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In my work as a visual artist, I am concerned with architecture and urban space. My focus is on the reciprocal relationships and influences that exist between people and architecture, and I am committed to exploring possibilities for creating spaces that stimulate reflection on the cultural structures within which we move, and to rendering them experientially accessible in aesthetic terms. During visits to Los Angeles in 2011 and 2012, I became intensively preoccupied with the work of the Austrian-American architect in Rudolph Schindler. During this period, I photographically documented three of his early projects (his own residence, the How House, and the Lovell Beach House), basing my work on historical research carried out in the Schindler Archive at UC Santa Barbara. In addition to slide installations that resemble portraits of the individual houses, I derived a cube structure from the bilateral-diagonal roof configuration of the How House (1925). This sculpture, which bears the title Interface No.1, in turn became the point of departure for a multifaceted confrontation with the form of the cube. A number of different works evolved from this form, among them Pandora’s Box (2016), Tango (2015), and the sound installation SonicCube (2017), to name a few.

In Minimalism and Conceptual Art, the cube attained a certain art-historical prominence – a realization that led me toward an intensive preoccupation with works by artists active during the 1960s. My admiration for such works arises from the fact that they are neither metaphorical or expressive. The materials employed are never symbolically charged – nor are their forms or modes of presentation. This observation, moreover, applies not just to static objects, but to dance and performance pieces as well (i.e. those by Yvonne Rainer, Trisha Brown, and Lucinda Childs). It is a profoundly liberating experience to encounter works whose ideas, materials, or movements are freely available, so that the form of their reception is left entirely up to the beholder. Today, my perspective of the art of the 1960s and 70s allows me to pose new questions – questions (for example regarding my confrontation with the cube) which have never been formulated in exactly this way. My aim is to develop work that visualizes my dialogue with art and with architectural history, and whose aesthetic integrity opens up new perspectives of relevance to our cultural, political, and social reality and to the future as well.


Sandra Peters
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Sandra Peters

City Center / Nomadic Monads, 2019 (Unrealized). Proposal for an outdoor Installation at the Sharjah Art Foundation, UAE. Visualization: Ken Koch

City Center / Nomadic Monads, 2019 (Unrealized). Proposal for an outdoor Installation at the Sharjah Art Foundation, UAE. Visualization: Ken Koch

Modifikation–stetig steigende Steine, 2009. Kunstverein Ruhr Essen, Germany Photography: Werner Hannappel

Modifikation–stetig steigende Steine, 2009. Kunstverein Ruhr Essen, Germany Photography: Werner Hannappel

Model: Modifikation–stetig steigende Steine, 2008 / Photography: Jens Ziehe

Model: Modifikation–stetig steigende Steine, 2008 / Photography: Jens Ziehe

Pandora's Box, 2016. Installation View: Sandra Peters studio / Photography: Jens Ziehe

Pandora's Box, 2016. Installation View: Sandra Peters studio / Photography: Jens Ziehe

Untitled (Wall Drawing), 2016 / Project space at NYUAD / Photography: Sandra Peters

Untitled (Wall Drawing), 2016 / Project space at NYUAD / Photography: Sandra Peters

Untitled 1–5 (Slight Squint), 2016 / Drawing 33 x 44 cm

Untitled 1–5 (Slight Squint), 2016 / Drawing 33 x 44 cm

Bilateral–Diagonal, 2011, Y8 Hamburg / Photography Klaus Frahm

Bilateral–Diagonal, 2011, Y8 Hamburg / Photography Klaus Frahm

Untitled (Bilateral–Diagonal), 2011 / Multiple Edition of 8 / Photography: Jan Brockhaus

Untitled (Bilateral–Diagonal), 2011 / Multiple Edition of 8 / Photography: Jan Brockhaus

The Conversation: Sculpture and Architecture with Sandra Peters

Time laps for Sandra Peters' Untitled Wall Drawing


EXHIBITIONS

SOLO

2016

Pandora's Box. The Arts Center Project Space, Abu Dhabi, 2016

In situ: A sequence of Works at Warehouse Tegel, Berlin 2016

2013

Bilateral, Diagonal, Cubical at Aanant & Zoo, Berlin

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GROUP

2020

Nomad Lab. Quiz Arts Fest 2020, Warehouse 32, Alseral Avenue, Dubai UAE

2019

Moments in Their Time – Arts Faculty: The Exhibition. The Arts Center Project Space, Abu Dhabi UAE

2016

Y8 Square Editions. Y8 Hamburg, Germany.

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WORKS IN COLLECTIONS

Kunstmuseum Bonn

Private Collection, Berlin

Private Collection, Lörrach

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PUBLICATIONS

EDUCATION (detailed)

1992–1995 Apprenticeship as a goldsmith

1996–2001 BFA and MFA at the Hochschule für Bildende Künste Dresden

2002–2004 Meisterschülerin (Phd Arts) at Hochschule für Bildende Künste Dresden

ADDITIONAL INFORMATION

2014 to present Assistant Arts Professor, New York University Abu Dhabi


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