Sara Ludy & Henri Haake

With the dual presentation of Sara Ludy and Henri Haake, we bring together two positions that explore the relationship between perception, memory and surface in different ways. While Ludy develops a style of painting from a digital image practice that is atmospheric, permeable and characterised by energetic vibrations, Haake focuses on everyday scenes that oscillate between presence and fading. Both artists work with layers, fragments and transitions in which the visible intertwines with the inner, the material with the imaginary. This creates a dialogue between the dissolution and condensation of form, between light and surface, between memory and the present.

Sara Ludy is an American artist whose practice combines everyday life with natural and simulated elements across various media, including animation, AI, blockchains, painting, photography and expanded media. She combines and blurs these media to create hybrid forms, such as transforming a photograph into a 3D object or a 3D object into a painting, reflecting a world where physical and virtual boundaries blur. Her work explores the intersections of physical, digital and imagined spaces.

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Sara Ludy's painntings arrived from explorations in light and surface after years of working with screens. Ludy builds her compositions focusing on the material qualities of quick drying acrylic, allowing the process, temporality and climate surrounding the painting to unfold onto the canvas. Shapes and forms emerge as layers and layers stack, reflecting light from the moon in the desert where she lives, and light from her screens. She sees these paintings to encompass a post-digital condition, where the ubiquity of the digital material has shaped and influenced the way we see.

In his paintings and drawings, Henri Haake explores the poetic resonance of everyday life through a process shaped by memory, perception and synthesis. Drawing on personal experience, observation, imagination and art historical references, his work unfolds as a dialogue between past and present, the visible and the hidden.

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Haake's current works often approach the visible only tentatively: What initially appears familiar eludes us on closer inspection. In this limbo between materiality and dissolution, he explores a visual vocabulary that is not aimed at quick legibility, but rather at a pause – a kind of visualisation in the midst of excessive demands.