10 Questions with Sabine Hahn

Sabine Hahn completed her graphic design studies in 1996. Before and during her studies, she immersed herself in the world of art, particularly drawn to contemporary and video art. Following her studies, she gained valuable experience as a graphic designer in various agencies. However, her passion for art persisted, leading her to pursue further education in painting techniques at an art school in Berlin. Subsequently, she joined the renowned Steidl Verlag, where her enthusiasm for photography flourished, allowing her to network with influential figures in the art world. For the past eight years, she has thrived as an independent art book designer for museums and publishers while devoting her spare time to painting, photography, and video art.

As an artist, she sees herself as a translator of the world as she encounters it. Her work is not limited to one medium, but rather, she uses a variety to express her vision. Her oil paintings, created from the movement and mood of the period in which they were made, are just one example. Photography also takes up a large part of her toolbox. She enjoys capturing the short-term moments you can with it, be it a shadow, a reflex, a color, a state, or just a good moment she encounters on city walks or travels. Videos arise from the need for more than pictures or photos to show what it is all about.

sh-gd.de | @saine_han

Fracture, No 1–4, 2009, varying formats, print on cotton paper © Sabine Hahn
This work is a small acrylic painting that was scanned and digitally fragmented, so it developed a completely different power than the original picture. In this way, I began to study compositions in painting. At first, I felt my pictures were overloaded. This technique helped me focus on the essentials.

INTERVIEW

First of all, introduce yourself to our public. Who are you, and how did you develop into the artist you are today?

Art didn't play a significant role in my upbringing, except for exposure to classical music and occasional visits to museums (like the Pergamon) and churches with their iconic paintings. Even the art lessons at school barely touched on the depth of art. Nevertheless, I felt an innate need to create something. For a while, I found myself captivated by Hollywood films, especially the ingenuity of make-up artists in portraying aging transformations. I vividly recall an article where a make-up artist stressed the challenge of depicting aging eyes, which left a lasting impression on me. This interest led me to embark on an apprenticeship as a hairdresser and wanted to pursue studies in make-up art. I had to end my apprenticeship due to developing an allergy to the chemicals used. Despite this setback, my fascination with faces endured, leading me to frequent museums that showcased Renaissance art. While initially struggling to connect with contemporary art, my perspective shifted during my studies as a graphic designer, where I delved into composition classes, calligraphy, and art history. As life presented me with various challenges, I've come to realize that art has become an invaluable tool for processing emotions and expressing my innermost turmoil.

Untitled, 2011, abstract photography © Sabine Hahn
Photography also takes up a large part of my toolbox. I like the short-term moments that you can capture with it, be it a shadow, a reflex, a colour, a state, or just a good moment that I encounter on city walks or travels.

Can you tell us about your journey from studying graphic design to becoming an independent art book designer and artist?

During my studies, I made it a point to visit museums more frequently and also made a habit of traveling to the US every summer. Despite having hardly ventured out of German-speaking countries before, I found the open, relaxed culture of the Americans to be incredibly refreshing. Feeling a sense of freedom unlike any I had experienced in Germany, I was convinced I would have to emigrate after completing my studies. In 2008, I lived in San Francisco for a short period, but the financial crisis and its impacts woke me from the dream of a free and independent life. Suddenly, the streets were full of homeless people, and I realized how hard the US really is. Previously, I worked for agencies specializing in film marketing for major Hollywood studios. Despite the challenging years with tight deadlines, I almost forgot about art amid exhaustion. During this period, I moved from Munich to Berlin on my own. The city was teeming with artists, and I couldn't help but take notice. I took a small digital camera to explore the unfamiliar town and photographed everything that piqued my interest. By chance, I stumbled upon the Steidl publishing house at a book fair, and in that instant, I knew I wanted to work there. I continued working there until my journey led me to Zurich, where I became an independent book designer. Soon after, the curator of an art museum in Switzerland invited me to work for him after my break. I worked for him until he retired in 2022, handling signage for exhibitions and books. We often engaged in intensive discussions about art and artists. Once, I also shared my own artwork with him, feeling I needed more confidence about my artistic work.

What do you wish you knew about contemporary art and the art world before you got started?

If I had known at 16 that I could attend the UDK in Berlin without a high school diploma, I would have chosen Berlin right away. The cost of living was affordable, making it easy to study, work, and reside there. I could have experienced the fascinating post-reunification period. Additionally, the connections you establish at art schools can benefit your career in the art world. However, back then, I was a Greenhorn and didn't have a mentor, so I had to learn everything myself.The internet was still in its early stages, and doing research without Google was quite challenging, especially when you didn't know where to begin. Nevertheless, I was determined to figure things out on my own, and that journey of self-discovery was priceless.

Untitled, 2023, Oil on Canvas 100 x 120 cm © Sabine Hahn

You work across different mediums, such as painting, photography, or video art. How do you decide which medium to use for a particular project?

For me, photography represents two distinct artistic forms. When I encounter magical photographic moments when I'm out and about, I can quickly capture my surroundings. That's how my series "City Walks" came about. New cities are almost predestined to be photographed. Unfortunately, I don't dare photograph people the way Robert Frank did, for example. In abstract photography, it's a moment, maybe a light/shadow situation. In painting, I'm interested in the gestural, structure, and the interplay of colors; the picture takes on a life of its own, and I often don't know where the journey will take me. At the moment, it's mostly in blue (color). Video art, on the other hand, involves careful orchestration from scripting to filming and editing. I have many videos I want to shoot, but I don't always have the time. The subject matter then dictates my decision-making. In my art practice, I can freely make decisions and work spontaneously, which is a refreshing change from my more structured graphic design work.

Can you describe your creative process when working on a new piece?

I don't work with a specific plan in mind; the work finds me. Recently, through a visit to an exhibition, I actually make notes all the time. The important thing is that the mind can associate freely, and I am not distracted by everyday things. I think I already hinted at the process in my last answer.

Luxation, 2019, acrylic on paper, 20 sheets of 21x 30 cm © Sabine Hahn
In a new studio where I didn't feel comfortable, I lacked inspiration, so I took black acrylic paint, thinned it until it was liquid, and twisted myself while painting. That's how these partly dance-like structures came about.

What are the main themes you explore in your work? And how do these themes change or differ when working with painting, photography, or video?

Initially, it was more of a way of processing my experiences. In conjunction with the examination of recent German history, The collective and individual trauma. What impact does it have on society, where does it manifest, and where does it remain concealed? I am still looking for an answer. I think it's the same for every artist: you absorb things, and they affect your inner self, which inevitably changes over the course of your life. Then, you "spit out" your contribution to the world, so to speak. My themes have a lot to do with being human and becoming human. Photography, as I have described, has this immediacy. In painting, I can model the atmosphere. Video has the power to make things more tangible, but it's always a quest.

Is there any particular reason why you chose these mediums specifically over other ones, like performance, installation, or digital art? And have you ever considered introducing new mediums in your practice?

Currently, I'm not very interested in performance or digital art. I find installations more engaging, but there aren't any compelling ones at the moment. Time constraints are a major challenge, which is why not everything I've planned hasbeen brought to fruition.

You also work as an independent art book designer. How do you balance your professional projects with your personal art practice?

As an independent book designer, you always have periods between jobs. The difficult thing is to switch back and forth. I always need a while after I've finished an art book to get back to my artistic work. During the art book period, I completely immersed myself in that world. Like an actor, I slip into the role and try to think and feel like the artist. Otherwise, I couldn't design books that are so individual. I need to separate myself from that world afterward so I don't unintentionally imitate the artist. However, this process has also helped me expand my creative horizons. One book that left a lasting impression on me is "Sam Francis in Japan," which I designed in 2021.

Erste Erinnerung, 2021, Plaster on canvas, 60 x 90 cm © Sabine Hahn
In fact, my first memories are of wet plaster. The cold, chalky feeling, which then slowly dries and constricts.

What new projects or themes are you excited to explore in the future, and how do you see your work evolving?

I want to realize the two video projects, "White Cloud" and "2 Rooms," which I have been mulling over for a few years. The latter would also be a mixed project of installations with video. In painting, I have only just started trying a very personal subject, so I will probably start with that.
Additionally, I have an installation in mind featuring flying objects. I would like to work on something sculptural, but for the time being, only as a model.

Lastly, what is your biggest goal for 2024?

As I mentioned at the beginning, I had previously only shown my art to a single curator. And now I've been on Instagram for three months. So, if you can call it a goal to show yourself, participating in an exhibition would symbolize a significant achievement for me.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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