(° 1985, Vilvoorde - lives and works in Leuven)

Sarah De Vos starts from snapshots she captures herself and explores different aspects of perception in her paintings. Both technically and in terms of content, she builds up a stratification, she seems to want to mislead or seduce the viewer in her image. By manipulating framing, reflection and contrast, a clear view of the painting is prevented. On the one hand, the paintings behind glass, on canvas or wood appear completely transparent and, on the other, hide behind themselves and emphasize the tension between flattening and depth. A hint of nostalgia is not alien to her work. Do these frozen moments survive the test of time? Or is the pictorial opposition to oblivion futile? Is the color of the glass window or the pattern of a carpet doubled or deduplicated here?