Analia Saban: Interiors, Sprüth Magers

For her third exhibition with Sprüth Magers (and her first at their London gallery), Argentinian-born artist Analia Saban explores the ‘interiors’ of artworks and how media affects our understanding.
Analia Saban bio
Saban’s work is renowned for its playful approach to traditional media. Working in photography, painting and sculpture, she continually contests the boundaries of her material.
Often, Saban preserves the process in her final works. For example, look out for Markings (from Paint Storage)
(2014) where Saban has scraped a photograph to reveal a shelf of paints and then reapplied the
emulsion on an adjacent canvas.
You’ll also want to pay attention to Fade Out (Bouquet of Flowers, in Ten Steps)
(2015), a line drawing of flowers that is repeated ten times, and becomes increasingly distorted as the sequence progresses. As you move from left to right, heavy lines begin to obliterate the recognisable form of the flowers and you start to question where the piece begins and ends.
Sprüth Magers, London show
As the exhibition title suggests, there is an overarching interest in interior design and the domestic scene. This has become a major theme in Saban’s oeuvre and her previous work often uses objects from the home like sinks, bed sheets and towels.
One of the principle works in her latest show, Claim (from Chesterfield Sofa)
(2014), is a sofa merging with a canvas, stretching out into the interior of the room. The matching neutral colours of the sofa and the painting it sits under are a nod to the clichés of tasteful interior design.
Saban’s work offers an unusual perspective on familiar themes as she subverts her medium. Contemporary art aficionados shouldn’t miss the chance to see this LA-based artist in London.