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Lot Essay
The first of four large-scale digital photo-montages, collectively titled beyond euphoria and dedicated to the popular revolutions in Tunisia and Egypt in the Spring of 2011, presents us with a tumultuous composition at once vaguely familiar and utterly elusive. As the eye moves involuntarily, restlessly, from one sharp irregular form to the next it begins to connect fragments into clusters of shapes, supporting, protecting or mirroring each other. This is when contemplation becomes participation.
The title too is ambiguous: colloquially it connotes the intensification of bliss, a state of being intrinsically fraught with threats of unsustainability and the ephemeral nature of an event. Conventionally though, it references time and questions the after, the post-euphoric and, thus, addresses the future of this intense yet fragile space of undefined possibilities. In the context of Sabella's oeuvre, however, Beyond Euphoria is intimately related to earlier photo-montage works beginning with In Exile (2008).
Sabella manages through the creation of arresting photo collages to push for a renewed understanding of the photographic image while delving deep into psychological states and the state of the world.
(Christa Paula, 2012).
The title too is ambiguous: colloquially it connotes the intensification of bliss, a state of being intrinsically fraught with threats of unsustainability and the ephemeral nature of an event. Conventionally though, it references time and questions the after, the post-euphoric and, thus, addresses the future of this intense yet fragile space of undefined possibilities. In the context of Sabella's oeuvre, however, Beyond Euphoria is intimately related to earlier photo-montage works beginning with In Exile (2008).
Sabella manages through the creation of arresting photo collages to push for a renewed understanding of the photographic image while delving deep into psychological states and the state of the world.
(Christa Paula, 2012).