Sara Badr Schmidt reduces the genre to its broadest common denominator: the sky. To create the Borderless series, the artist simply photographed swathes of blue pierced by the indecipherable profusion of clouds. The skies, captured on various journeys, are printed on canvas and transposed into light boxes. The abstract forms of the highest spheres are transcribed in several languages: “Arrabbiata”, “Lagom”, “Hello”, simple words that contextualise these aerial paintings. For Sara Badr Schmidt, each sky has its own vocabulary. The images, plastically objective, are thus enhanced by memory words. The borderless landscape is nevertheless linked to one of the strongest components of the territory: language. The balance between ideal form and verb gives Borderless a limitless power of suggestion. In concrete terms, the works are frameless, spreading an aura, a halo, an atmosphere around them. more
For Sara Badr Schmidt, this aesthetic is utopian. The artist has spent a great deal of time flying between France, Lebanon and Sweden. The sky, experienced as a place of exchange, is not an immense distance, but a force in presence. It is no longer a monochrome flatness, but swallows up the horizon as it travels forward, like a traveller’s gaze through a porthole. On one of the windows, the artist has written “NOWHERE EVERYWHERE”, a profession of white letters reminiscent of a utopian novel by Samuel Butler. Erewhon, published in 1872, was an anagram of ‘nowhere’ but also of ‘now’ and ‘here’. This calligraphic ambivalence confers on Sara Badr Schmidt’s work a universal programme destined to be realised nowhere and yet hic et nunc, “here and now”.