In 2014 Carlos Sagrera (*1987 Madrid) initially moved to Leipzig for a scholarship. After the end of the scholarship he remains in Leipzig -his admiration for the painters of the generation of the New Leipzig School is great and he feels comfortable in the environment of the Leipzig Cotton Mill. Sometimes, however, he thinks with some melancholy of his Spanish homeland, omnipresent is the memory of his past and that of his family since he made it the subject of his painting.
In 2011 Carlos Sagrera finds photographs from the 1970s in his grandparents‘ Madrid apartment. They are photographs of the grandparents‘ apartment, which would later become one of the most important places of reference for Sagrera himself.
Two years after this find, he photographs the rooms again, trying to orient himself to the camera position of the old photographs. With the death of his grandmother and the sale of the apartment, a third and final series of photographs follows. Emptiness and abandonment dominate.
These photographs become the basis of his paintings. Even when he comes to Leipzig in 2014, he continues to examine the photographs. Turns to the interior, rearranges objects in the rooms, adds others that were never there. His works are like human memory. Interior and remembered spaces merge. There are several versions of many interior situations, just as there are 3 series of photographs. If in one work the focus is on an equipped room, in another it is the vanished everyday life in an abandoned place and on the surface of the color the space begins to dissolve.
In the works for the exhibition „A Corridor made of silk“ Sagrera further turns to questions of human and individual existence in the domestic order. The pandemic of 2020 has us all experiencing accelerated change. #wirbleibenzuhause Much more than usual, this throws you back to those few square meters you inhabit, for which you pay rent, which are usually a place you come back to again and again, but not one you stay in permanently. Architectural elements and spatial proportions, furniture, materials, decorative patterns, objects, souvenirs define our home, embellish it, charge it with meaning and make it a place where we feel safe and comfortable. The current deceleration opens our eyes to the details, makes us question objects with which we live, sometimes for a long time, and explore their historical or family significance.
„It is the less than spectacular, not even quaint, rather ordinary, yet fragile elements inherent in human existence, which, as they pass by, leave not only traces but gaps as well. It is the awareness of loss and the destructive force of time. This might bring to mind Marcel Proust’s À la recherché du temps perdu and the time that seems irrevocably lost. Though Sagrera does not halt the passing of time, he makes it visible through the medium of painting.“1
1 Anka Ziefer, 2018