Sarah Margnetti
15.06.2019 to 28.09.2019
The work of Sarah Margnetti focuses on both the fragmentation of the human body as on the optical illusion of matriality. It is this trompe l’oeil technique of painted matriality that brought Margnetti to Brussels – to the Van der Kelen-Logelain Institute, where she received the technical training that characterises her virtuoso painting style. This Brussels-based school was founded in the 19th century and is the only one in the world that focuses on traditional techniques of decorative painting - where students learn to imitate the matriality of a large number of different types of wood and marble in a painterly way.
The seemingly massive matriality of Sarah Margetti’s paintings contrasts sharply with the temporarity that characterizes much of her work. Many of her paintings originate in situ - in a specific exhibition context in which the murals exist only for a limited time before they are painted over, and thus disappear.
Sarah Margnetti’s trompe l’oeil painting technique uses imitation marble and wood, as a background for - and as an covering of - fragmented body parts. The painted facial features such as noses and ears, but also body parts such as breasts and buttocks, show an objectification and commodification of the human - above all female - body, and the alienating anonymity that is part of this process.
Receiving her BA from ECAL in Lausanne and her MA from HEAD in Geneva, Sarah Margnetti (1983 in Monthey, lives and works in Brussels and Lausanne) went on to get a technical training at The Van der Kelen-Logelain Institute in Brussels, one of the first schools dedicated to the study of decorative painting. Founded in 1882, it’s also one of the few places where art education is not about free expression, but about learning one strict, ancient discipline. Mastering the technique of trompe l’oeil, Margnetti has developed a virtuous painting style that combines optical illusions and abstract motives.
Sarah Margnetti has recently been awarded the prestigious Swiss Art Prize. Her work has been shown internationally, including at venues such as SATLTS, Basel; Deborah Bowmann, Brussels;  Le Commun, Geneva; Zabriskie Point, Geneva; and Swiss Institute, Rome.
Garance Chabert
Rideau Bonne-Femme, acrylique et huile sur mur, Introspection, huile sur toile, 100 x 70 cm, 2018, vue de l'exposition FLOWERS DON'T PICK THEMSELVES, Bombon project, Barcelone, ©Juan Diego Varela