Engendering a ludic and interactive experience of geometry, which aims to be understood by the spectator within seconds: this is the wish of the artist. Her works, through their cherished and mastered execution, confound themselves in a place in which functionality echoes with aesthetics, thus questioning the limits of painting. Sarah Benslimane intends to problematize the trivialization of the artwork as a near object or even as an ornamental accessory, which could either belong to the familiarity of a domestic space or dwell in the  apparently distant strikingness of an institution’s white cube. Undeniably influenced by Judd or Mosset, Benslimane joyfully reshapes the relationship between an art piece and the public; constantly finding ways to stimulate the observer’s implication and attention span. Striving to question the patriarchal fetishization of lavish materials and sassy plastic procedures used throughout the history of abstraction, fiberglass is now replaced with papier-mâché and sleek metal containers are perverted with cheap water pumps. Vivid  colors, aggressive shapes, authoritative slogans, glossiness, and even comfy surfaces are the tokens used to create a magical encounter between the work and spectator. Due to a skilled execution, her works can often look fake, as if they just got out of an IKEA factory. Nevertheless, stay focused and do not miss the  point: everything is authentic, sensitive, deep, and caring but still there is always room for clumsiness and  awkwardness. Experiencing Sarah’s work feels seemingly inclusive as there are easy leitmotivs to latch onto: mosaics, toys and even outdated 2010’s symbols that gave form to unfortunate tattoos. Sarah never ceases to find new ways to make you trust her and make you part of her creative vision, because at the end of the  day, this is all about us.
Marguerite Mikanowski

Sarah Benslimane (1997) is an artist of French, Algerian and Swiss origin. She lives and works in Geneva. After showing her work in group exhibitions at Karma International and Fri Art, The Way We Trust is her first solo exhibition.