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Sabine Pierick: 117-2 · Title: Junction · Dimensions: 150 x 120 cm · Material: Real copper on various granulated coal · Year: 2018 Description: This work presents itself as a complex composition on real copper, structured by a network of precisely drawn lines. The geometric abstraction is reminiscent of constructivist traditions, particularly the works of Piet Mondrian and the Russian Constructivists, but is here transferred into a contemporary context through the material presence of the copper. The black lines that run across the warm copper surface create a dynamic tension between order and chance. On the one hand, these lines appear mathematically precise, but as a whole they develop an almost organic quality that is reminiscent of urban structures or cartographic records. The material dialectic is particularly remarkable: the real copper with its characteristic coloring and surface structure forms a living background that enters into an active dialogue with the applied lines through its natural patina and reflective properties. The choice of material refers to industrial processes and traditional craftsmanship at the same time. Back

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Exhibitions 2025 Artist Meeting, Knokke, Belgien G Internationale Präsentation aktueller Werke 2024 Biennale Venedig, Italien >>>> G Internationale Präsentation zum Thema: „Foreigner Everywhere“ 2024 Jüdisches Museum, Dorsten >>>> E Werkserie über Erinnerung, Wert und kulturelle Identität 2023 Chelsea Art, London, UK G Teilnahme mit großformatigen Materialbildern aus Kohle, Kupfer und Petrol 2023 Main Art, Aschaffenburg G Präsentation abstrakter Werkkompositionen zur Transformation natürlicher Ressourcen 2023 Galerie Broome St., New York G Internationale Positionierung 2023 DAF, Köln G Thematische Ausstellung zu zeitgenössischer Materialkunst 2023 Franz*, Dorsten E Überblick über aktuelle Werkphase mit Schwerpunkt auf Kohle und Kupfer 2023 Parallax Art, London,UK G Experimentelle Materialarbeiten im internationalen Kontext 2022 DAF , Frankfurt G Thematische Ausstellung zu zeitgenössischer Materialkunst 2022 Galerie Dortmund G Teilnahme an thematischer Ausstellung über Struktur und Oberfläche 2022 Galerie Casa del Arte, Mallorca G Perspektiven auf industrielle Materialien 2022 ARTe, Wiesbaden G Zeitgenössische Kunstmesse 2022 Lohnhalle, Dorsten E „Mensch & Material“ – großformatige Werke aus Steinkohle und Echtkupfer 2022 Konstanz G Teilnahme mit Arbeiten zur Beziehung zwischen Mensch und Naturstoff 2022 La Villa, Starnberger See E Präsentation der Werkserie „Reflexionen“ – Kohle, Kupfer, Petrol 2021 Adlon, Berlin E Kunst im Dialog mit Architektur – Kohle als Symbol für Erinnerung 2021 Capital Club, Berlin G Auswahl zeitgenössischer Positionen deutscher Künstler:innen 2018 Extraschicht, Ruhrgebiet G Teilnahme an der Nacht der Industriekultur 2018 Fürst Leopold, Dorsten E Carbon I - Erste große Werkreihe mit Deputatkohle – Beginn der Kohle-Phase 2018 Maschinenhalle, Dorsten E Rauminstallation mit Kohle, Kupfer und Licht 2017 Extraschicht, Ruhrgebiet G Teilnahme an der Nacht der Industriekultur 2015 Entwicklung des eigenen Materials - Beginn der eigenständigen Materialforschung mit Kohle, Kupfer und Petrol 1988 - 2014 Div. Ausstellungen im In- und Ausland E+G Frühphase mit keramischen, metallischen und lackbasierten Arbeiten AWARDS 2023 Pinacothèque „Artistic Merit“, Luxembourg 2022 Pinacothèque „Artistic Merit“, Luxembourg BOOKLETS & MAGAZINES Back

ART works Be Inspired! Anker 9 118 /17 Real copper disc and copper threads on carbon background Info >>> W: 150 x H 150 cm 2024 < to the gallery > Anker 10 666 W: 150 x H 150 cm Copper threads on black differently granulated carbon background < to the gallery > more Info >>> 2023 Anker 34 CO2 - Z Copper pipe on iridescent petrol background, luminescent W: 150 x H 150 cm (2 parts) < to the gallery > more Info >>> 2024 Anker 4 seasonal happiness spring Real copper disc on differently granulated hard coal W: 150 x H 150 cm < to the gallery > more Info >>> 2023 Anker 2 seasonal happiness summer Real copper disc on differently granulated hard coal more Info >>> W: 150 x H 150 cm < to the gallery > 2022 Anker 5 seasonal happiness autumn Real copper disc on differently granulated hard coal W: 150 x H 150 cm 2023 < to the gallery > more Info >>> Anker 3 seasonal happiness winter Real copper disc on differently granulated hard coal W: 150 x H 150 cm < to the gallery > more Info >>> 2022/23 Anker 7 1723 Real copper disc on differently granulated hard coal W: 150 x H 150 cm < to the gallery > more Info >>> 2023 Anker 6 1323 Real copper disc on differently granulated hard coal W: 150 x H 150 cm < to the gallery > more Info >>> 2023 Anker 8 1315 W: 150 x H 150 cm Real copper disc on differently granulated hard coal < to the gallery > more Info >>> 2015 Anker 32 915 Real copper disc on differently granulated hard coal W: 150 x H 150 cm < to the gallery > more Info >>> 2015 Anker 31 418 Real copper on differently granulated hard coal W: 160 x H 210 cm < to the gallery > more Info >>> 2021 Anker 30 0915-01 Real copper on differently granulated hard coal W: 160 x H 210 cm < to the gallery > more Info >>> 2015 Anker 29 117 - 2 Granulated hard coal on real copper W: 150 x H 120 cm < to the gallery > more Info >>> 2018 Anker 27 117 Granulated hard coal on real copper W: 150 x H 120 cm < to the gallery > more Info >>> 2017 Anker 1 Pure variety 1 Copper foil, oxidized, on variously granulated coal W: 150 x H 150 cm < to the gallery > more Info >>> 2023 Anker 28 Pure variety 2 Copper foil, oxidized, on variously granulated coal W: 150 x H 150 cm < to the gallery > more Info >>> 2023 Anker 33 Pure variety 3 Copper foil, oxidized, on variously granulated coal W: 150 x H 150 cm < to the gallery > more Info >>> 2023 Anker 13 Last view on Pluto various granulated coal, petrol, luminescent W: 150 x H 150 cm < to the gallery > more Info >>> 2024 Anker 11 1916 ·Real copper on various granulated hard coal, petrol W: 120 x H 120 cm < to the gallery > more Info >>> 2016 Anker 25 1115 ·Real copper on various granulated hard coal, petrol W: 150 x H 120 cm < to the gallery > more Info >>> 2015 Anker 26 624 ·Real copper on various granulated hard coal, petrol W: 130 x H 180 cm < to the gallery > more Info >>> 2024 Anker 14 without Gold leaf, mixed media on canvas W: 150 x H 150 cm < to the gallery > more Info >>> 2015

Sabine Pierick: 1315 · Title: Big Player · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2015 Description: The monumental work "Big Player" is in the tradition of late modern material and process art, but reflects contemporary discourses on sustainability and resource awareness. The circular composition, realized in graduated coal and real copper, transcends the purely formal aesthetics of minimalist art and opens up a complex dialogue between industrial heritage and contemporary material aesthetics. The materials used are not only relevant in terms of formal aesthetics, but also give the work cultural and historical significance: the coal, as a witness to industrialization and at the same time as a fossil remnant of geological processes, points to the ambivalence of human development. Copper, on the other hand, one of the oldest metals used by humans, symbolizes both technological progress and the elemental connection to the earth. In the tradition of Arte Povera and German post-war material artists such as Joseph Beuys, Pierick develops his own material language that explores the tension between nature and culture, between geological time and human history. The haptic quality of the surface invites multi-sensory perception and thus overcomes the traditional distance between viewer and work of art. Back

Sabine Pierick: Elementary ·Title: 118/17 ·Dimensions: 150 x 150 cm ·Material: Real copper disc with copper threads on granulated coal ·Year: 2024 Description: This fascinating installation uniquely combines science, global politics and aesthetic sophistication. 118 precisely arranged copper threads corresponding to the elements of the periodic table are interwoven with 17 concentric circles - a subtle nod to the UN Sustainable Development Goals. The mathematical precision of the work, with references to pi and the circumference of the earth, as well as the symbolic excess length of the threads, which refers to the 196 recognized states of the world, make this piece an intellectual and visual experience. Sabine Pierick's installation "ELEMENTARY: 118/17" can be placed in the context of conceptual environmental art, which has gained increasing importance since the 1960s. The work is characterized by its complex symbolism and the fusion of scientific, political and aesthetic elements. The use of 118 copper threads, which correspond to the elements of the periodic table, refers to the fundamental structure of matter and thus connects the work of art with the natural sciences, and is also in the tradition of contemporary artists such as Tomás Saraceno or Olafur Eliasson, who integrate scientific concepts into their works. The 17 concentric circles, which represent the UN sustainability goals, give the work an explicitly political dimension. Pierick thus addresses current global challenges and positions her work in the discourse on sustainability and global responsibility. This approach is reminiscent of the tradition of political art, as represented by Joseph Beuys, for example, with his expanded concept of art. The mathematical precision in the conception of the work - with the reference to Pi and the circumference of the earth as well as the extra length of the threads as a reference to the 196 recognized states - shows Pierick's interest in the connection between art, mathematics and geopolitics. This linking of different fields of knowledge in one work of art is reminiscent of conceptual approaches such as those of Sol LeWitt or Hanne Darboven. From a formal perspective, the work "ELEMENTARY: 118/17" is in the tradition of minimalist and geometric abstraction. The circular composition and the use of copper as a material are reminiscent of works by artists such as Donald Judd or Carl Andre, who used industrial materials in art. At the same time, Pierick transcends pure formalism by charging it with symbolic meanings. The choice of copper as a material is both aesthetically and conceptually significant. Copper, a conductive metal, could be interpreted here as a symbol of connection and interconnectedness - in keeping with the global issues that the work addresses. In addition, the warm color of the copper subtly refers to global warming, a central theme of the Anthropocene. In the broader context of contemporary art, Pierick's work can be placed within the growing movement of ecologically engaged art. Artists such as Hans Haacke, Agnes Denes or, more contemporary, Olafur Eliasson have taken up similar themes, albeit with different approaches. Pierick's work is characterized by his ability to express complex global issues in an aesthetically pleasing and intellectually challenging way. It exemplifies art that is not only visually effective, but can also act as a catalyst for discussions on pressing global issues. In summary, "ELEMENTARY: 118/17 represents a significant example of the fusion of aesthetic form, scientific precision and political engagement in contemporary art. It challenges the viewer to reflect on the complex relationships between science, politics and the environment, thereby positioning itself at the intersection of art, activism and research. Pierick's work is characterized by his ability to express complex global issues in an aesthetically pleasing and intellectually challenging way. It exemplifies art that is not only visually effective, but can also act as a catalyst for discussions on pressing global issues. In summary, "ELEMENTARY: 118/17 represents a significant example of the fusion of aesthetic form, scientific precision and political engagement in contemporary art. It challenges the viewer to reflect on the complex relationships between science, politics and the environment, thereby positioning itself at the intersection of art, activism and research. Back

Kunst, Ausstellung, Museum, Sabine Pierick: Pure Varity / Sortenrein · Title: Sortenrein 3 · Dimensions: 150 x 150 cm · Material: Copper sheet, oxidized, on variously granulated coal Year: 2023 Description: Overall, Pierick's work in the "Sortenrein" series is presented in a reduced, abstract visual language that leaves the viewer plenty of room for their own associations and interpretations. Her works convey a calm, meditative quality that invites the viewer to linger and reflect. Pierick's artistic approach in the "Sortenrein" series can be classified in the tradition of abstract, contemplative art, as found in artists of color field painting or minimalism. Her works are therefore in line with an art that is less concerned with conveying narrative content, but rather relies on the sensual effect of color, form and composition to put the viewer into a meditative state. Back

Sabine Pierick: 1323 · Title: · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2015 Sabine Pierick: 1323 · Title: · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2015 Description: Within a clear geometric basic form - the circle - Sabine Pierick develops a complex material composition that can be situated in the tradition of material and surface art. In its experimental treatment of materials, the work is reminiscent of the works of Antoni Tàpies or Alberto Burri, who also worked with the transformation of materials and their surfaces. The circular copper plate serves as a support for a multi-layered surface structure. Through the use of different grain sizes of coal, various textures and reliefs emerge. The natural oxidation of the copper creates additional color nuances ranging from reddish-brown to green tones, reminiscent of the color experiments of Art Informel. The distribution of materials does not follow any strict geometric pattern, but rather develops its own organic formal language within the strict circular boundary. This creates an interesting tension between the geometric basic form and the free material design - a design principle that can also be found in minimalist art. Particularly noteworthy is the analogy to works of Arte Povera, with representatives like Jannis Kounellis. However, Pierick transforms this material aesthetic into a contemporary formal language, characterized by the precise elaboration of surface structures. The composition shows a balanced equilibrium between controlled artistic interventions and the natural processes of material transformation. This working method stands in the tradition of controlled chance, as can also be found in the works of Hans Arp or the material pictures of Emil Schumacher. Back

Sabine Pierick: · Title: CO2 - Z · Dimensions: 150 x 150 cm (2 parts) · Material: ·Copper pipe on iridescent petrol background · Year: 2024 Description: "CO2-Z" is more than just an artwork – it is a statement, a fusion of aesthetic innovation and burning topicality. The centerpiece of the installation is a fascinating wall object made of handcrafted copper on canvas. The deep, meditative luminescent petroleum is traversed by precisely placed copper lines that culminate in a central ring - a visual metaphor for our planet's carbon cycle. The materials used - copper, coal, and water - are carefully chosen to reflect the complexity of the climate debate. Pierick's innovative technique transforms a 15-meter-long copper pipe into a delicate structure that simultaneously unites industrial precision and organic shaping. The installation is complemented by an amorphous floor component that can be adapted to different exhibition spaces, thus offering flexibility for various contexts. "CO2-Z" is not just an aesthetic eye-catcher, but also a work of high conceptual depth. It addresses one of the most pressing issues of our time - climate change - in a manner that is both intellectually stimulating and visually impressive. In this fusion of aesthetic refinement and ecological engagement, Pierick's work aligns itself with the tradition of conceptual and environmental art. She creates a dialogue between industrial precision and natural unpredictability, challenging the viewer to reflect on the complex interconnections between human actions and global environmental changes. "CO2-Z" promises to be a conversation piece of enduring value that redefines the boundaries between art, science, and ecological consciousness. One can be pessimistic if one looks at the possible end. Sabine Pierick explores the flourishing certificate trade in an artistically ruthless way as a doomsday scenario, already down to earth. Anyone who does not pull the lever ends up in a dripping, tarry puddle of lifelessness. Her frighteningly clear formula is greenwashing = doomdating. The impetus is clear: anyone who rids themselves of their responsibility not only risks, but is responsible for the decline of our planet into irreversible rigidity. When Robert Smithson placed his legendary 1500-meter-long earthwork "Spiral Jetty" at the edge of a salt lake in Utah in 1970, he combined the formally highly energetic landmark of black basalt stones with a deeply spiritual force tied to geology. Today, his land art icon, which remained invisible for decades due to flooding, lies dormant once again in the desolation of the salt flats. Inevitably, one senses the connection of the spiral-shaped symbols through the centuries. Topic: Water Risk. Fifty-four years after Smithson, Sabine Pierick lays down her 15-meter-long copper spiral installation like a universal memorial directly on planetary ground, instantly mapping humanity's realm of responsibility on a global scale. Is it still an oasis, or already on the way to becoming a wasteland? The CO2-Z spiral challenges the mind to focus while relentlessly expanding perception to take personal responsibility. When everything is at stake, the symbols must be compelling—especially as darkness encroaches ever more. Back

Sabine Pierick: DIGITAL OVEREUPHORIA · Title: 666 · Dimensions: 150 x 150 cm · Material: copper threads on black differently granulated carbon background · Year: 2023 Description: From the circle of coal, broken a thousand times over in black and gold, like a silhouette background encircling the world, the copper soul spins a memorizing thread as a human lament. Or 666. A veined labyrinth of a world on the self-destructive edge of limitless possibilities. Or an airy web against the ghosts that one has summoned and that one could still grab if one only wanted to. This artistic vision seems to be deeply rooted in the exploration of matter, nature and transformation. She uses her materials to reflect the duality of chaos and order, nature and man, permanence and transience. Her works invite the viewer to experience the transformation of raw materials into art and to discover an emotional and spiritual connection to these processes. This enigmatic work "666" manifests a remarkable synthesis of technology-critical reflection and aesthetic finesse. The large-format work, which is characterized by its stringent composition and the virtuoso use of charcoal and copper, transcends mere material presence and establishes itself as a multi-layered commentary on the digital turning point. The central, circular composition, which is made up of exactly 666 threads, immediately evokes associations with neural networks or digital connections. This numerical precision is by no means arbitrary; it deliberately refers to the sales price of the first Apple computer and thus creates a subtle connection to the genesis of personal computer technology. At the same time, the numerical symbolism evokes the biblical connotation of the "number of the beast", whereby Pierick cleverly initiates a critical discourse on the potential ambivalence of technological progress. A remarkable dialectic is manifested in the material execution: the use of coal and copper - materials that are emblematic of the industrial revolution - to represent digital networking builds a bridge between different eras of technological evolution. This choice of material is not only aesthetically but also conceptually stringent and underlines Pierick's nuanced understanding of the historical dimension of her subject. The work "666" oscillates between abstract representation and concrete material presence, with the filigree copper threads developing an almost kinetic quality. In the context of contemporary art, "666" positions itself as a significant contribution to the discourse on the digital transformation of society. Pierick succeeds in transforming the often abstract and elusive nature of digital networking into a concrete, physical form without falling into simple illustration. Instead, she creates a work of remarkable conceptual depth that is simultaneously aesthetically captivating and intellectually challenging. The "digital over-euphoria" that Pierick critically reflects here is not denounced in a striking way, but rather is transformed through aesthetic transformation into a field of tension that invites the viewer to engage in their own critical reflection. In this respect, the work proves to be paradigmatic of an art that addresses the pressing questions of the present without giving up its aesthetic autonomy. Back

Sabine Pierick: 1115 · Title: Flux · Dimensions: 150 x 120 cm · Material: Real copper on various granulated coal, petrol · Year: 2015 Description: The work "FLUX" impresses with its rhythmic structure of parallel diagonals in three materials: the velvety black of charcoal, the metallic shine of real copper and the intensity of petrol. This triad is reminiscent of the material experiments of Arte Povera, but through the precise geometric arrangement it develops its own quality, oscillating between order and sensual presence. The diagonal alignment creates a dynamic tension that sets the picture in motion despite its strict composition. The technical execution of the material transitions is remarkable; despite the geometric rigor, they have a subtle liveliness. This is particularly evident in the slightly irregular edges of the copper strips, which are reminiscent of the tactile quality of Robert Ryman's material art. The use of petrol as a contemporary color accent also creates a spatial depth that elevates the work beyond a purely geometric abstraction. In the systematic repetition of diagonal stripes and the precise processing of materials, Pierick develops the minimalist tradition into an independent position that combines precise craftsmanship with material sensuality. She succeeds in creating a contemporary interpretation of geometric abstraction that brings the constructivist heritage into a convincing dialogue with contemporary material aesthetics. Back

Sabine Pierick: SEASONAL HAPPINESS · Title: Summer · Dimensions: 150 x 150 cm · Material: Real copper disc on various granulated hard coal · Year: 2022 Description: Sabine Pierick’s works reveal an artistic vision that is strongly influenced by the connection between nature, matter and transformation. Sabine Pierick uses unusual materials such as coal and real copper, which draw on natural, raw elements. This choice suggests that she explores the physical nature of the world - both its permanence and its mutability - as the basis of her art. Copper, which oxidizes over time, and coal, which is deeply connected to industrial and natural processes, are symbolic of change and transformation. Her artistic vision may aim to reveal the hidden beauty and potential of such materials, transforming them into something visually dynamic. In her artistic practice, Pierick uses a methodology that is reminiscent of the conceptual art of the 1960s and 70s, especially artists such as Hans Haacke or John Cage, who integrated natural processes into their works. By exposing the copper discs to the elements for a quarter at a time, the artist elevates nature itself to the role of co-creator. This approach results in a fascinating synthesis of artistic intention and natural intervention. Back