Maruša Sagadin, Jealousy #2, 2026
Steel sheet, lacquer, composite mortar, magnets
70 × 50 × 7 cm
3 unique works
4.750 Euro
Excludes 13% VAT. Please contact us for shipping options, and for pricing in other currencies.
Maruša Sagadin, Jealousy #2, 2026
Steel sheet, lacquer, composite mortar, magnets
70 × 50 × 7 cm
3 unique works
4.750 Euro
Excludes 13% VAT. Please contact us for shipping options, and for pricing in other currencies.
Maruša Sagadin's edition Jealousy moves between painting, architecture, and object. Overlapping panels recall a Venetian blind, opening and closing over the space behind. The series has its origins in an earlier, paper-based body of work. Now, Sagadin translates this principle into metal for the first time: the steel sheets are lacquered in several layers and sanded in between, producing shifting colour nuances and a high-gloss finish. Hand-formed using the artist's own body weight rather than machine pressing, each piece acquires an irregular, handmade edge and its own fixed, unrepeatable variation. The organic shape on the surface—in the paper works, a functional magnet that held the sheets in place—appears here, still held magnetically but freed from that function, as an autonomous, almost parasitic element. The three works can be mounted to the wall. For their release they were however presented on a scaffold that the artist developed specifically for the exhibition.
Maruša Sagadin, Jealousy #1, 2026
Maruša Sagadin, Jealousy #2, 2026
Maruša Sagadin, Jealousy #2, 2026; exhibition view at Collectors Agenda, (c) Manuel Carreon Lopez
Maruša Sagadin, Jealousy #3, 2026
In her artistic practice, Maruša Sagadin (*1978, Ljubljana) explores the interplay of gender, language and sculpture through the means of modern architecture. Her installations and objects are conceived to function equally indoors and outdoors, often within the context of everyday, public spaces whose permeability and usability she questions, and draw on elements of pop and subculture, working with playfulness, fantasy and exaggeration. At their centre lies, again and again, the body: its form, its needs, and the care it demands. Her interest lies as much in the body of the viewer as in the human body as a universal measure for her sculptures. She frequently extends her works with a performative act that invites viewers to actively participate in the art.
(c) Aleksandra Vajd
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