Von Rosen's works move between rough and smooth, desirable and dangerous, and pose questions about the vitality of things.
Her creatures are characterized by organic forms often in combination with her own type of mechanical elements. They are often imbued with a dark and nightmarish atmosphere, favoring a monochromatic hue. These components create a seemingly contradictory and yet extremely fascinating tension in her sculptures. In that sense, the sculptures emphasize on the power that objects can exert on people and their social interactions, a topic inspired by Jane Bennet’s thoughts on "Vibrant Matter” and the political ecology of things
Four dark squares or panels titled ‘AT ODDS panels I-IV’, whose tactile quality is strongly reminiscent to the structure of the surface of von Rosen's sculptures, function as the point of their origin.
Several of von Rosen's sculptures appears in pairs or having been split in two, in the exhibition. Their idea stems from Plato's philosophical concept of the Spherical People, or as they are described in his work "Symposion" or "The State". According to Plato, the Spherical People were originally beings that were split in two by the gods. From then on, these separated halves were condemned to wander through different globes and societies in search of their lost other half in order to regain their original wholeness.
The parallels between Sally von Rosen's sculptures and Plato's sphere people lie in the idea of separation and the search for perfection. Both von Rosen's creatures and the Sphere People strive to regain their original wholeness, whether by traveling through portals (in this case the dark panels) or roaming the world. Both concepts respond to the human longing for unity and completed existence by taking up the idea of separate parts longing to be reunited.
Another aspect of Von Rosen's practice are performances which often serve as conceptual embodiments of the pre-existing sculptures, introducing an additional narrative element to her art. A prominent feature of her work is the almost playful appearance of the sculptures, which cleverly exposes the human need for meaningfulness in the forms. Despite their initial alienation, von Rosen's sculptures seem to be mysteriously in motion, or in performative gestures, creating a sense of uncertainty in the viewer as to the actual intentions of the artworks. This dynamic quality adds another dimension to her artistic practice, making the viewer an active participant in deciphering the profound messages hidden within the unique forms.
Sally von Rosen (born 1994 in Gothenburg, Sweden) lives and works in Berlin. Von Rosen holds a BA in Philosophy from the University of Gothenburg (2016) and an MA in Fine Arts from the Umeå Academy of Fine Arts (2017-2019) including Performative Studies at the Academy of Fine Arts Vienna (2018).
Von Rosen's recent solo exhibitions include Trauma Bar und Kino, Berlin, MEGA foundation, Stockholm, Reference Studios, Berlin, Hall Gallery, Gothenburg, as well as group exhibitions at Anna Laudel Gallery in Bodrum, Schinkel Pavillon in Berlin, Festival Sommer Frische Kunst in Bad Gastein, Kunstraum Bethanien in Berlin, Kunstbrücke am Wildenbruch in Berlin and Kunstfort bit Vijfhuizen in Amsterdam.
