1998 kyoto installation at Kurotani temple Kyoto, Japan
1997 mäander 5 screen printing , 43 x 160 cm
mäander 4 4 parts etching, 38 x 52 cm
mäander 3 8 parts etching, 42 x 33 cm
mäander 2 4 parts etching, 33 x 42 cm
mäander 1 4 parts etching, 33 x 42 cm
mäander X 17 parts acryl on aluminium, full length 420 cm
1996 mäander IX 6 parts acryl, sand, graphit on canvas, 100 x 100 x 20 cm per picture
mäander VIII 6 parts acryl, sand, coal on canvas, 100 x 100 cm per picture
mäander VII 6 parts acryl, sand on canvas, 100 x 100 cm per picture
mäander VI 8 parts like mäander IV, full length 163 cm
mäander V 8 parts like mäander IV, full length 440 cm
mäander IV 8 parts acryl, sand on aluminium, 20 x 20 cm, full length 580 cm
mäander III 6 parts like mäander I 
mäander II 6 parts like mäander I 
mäander I 6 parts acryl, sand on aluminium, 20 x 20 cm, full length 420 cm

I Largo ma non troppo *
Graphic symbols drawn in soft ferric oxide seem to float at eye-level in front of the wall (mäander X). At another point the black colour seems to seep evenly into the background (mäander I). The rough granulate consistence of the colour combines optically with the roughened surface of the wall. Since colours have their effect according to different rules they also possess individual energy potentials. Similar to Barnett Newman, Ad Reinhardt or Frank Stella, her aim is to make the expressive force of pure colour and form an experience. Her works, however, do not assume the claim, to which
many artists of “Colourfield Painting” adhered, namely, to embody intellectual absoluteness and pure existence. Moreover, the qualities of the colour regarding effect of depth or optical oscillation are used to turn temporal processes into physical experience.

Sabine Laidig began her work with the meander form by separating the continual, regular motive into 6 or 8 parts (mäander I-X). Initially she painted on 20 cm x 20 cm aluminium plates with acrylic paint mixed with sand. The spaces between the single plates are the decisive element in the whole sequence. This element has an impact on the velocity of reading and rhythmical tension. Within Group of Works I the meander frieze is subject to a regular segmentation resulting in identical square units. The general impression of unity, however, is never distorted. When working in a non-coloured field Sabine Laidig applies this technique in various ways. Among other works she has drawn on large format canvases, which were then formed to 3-dimensional cubes, has sawn thin aluminium tin and has worked with screen printing and etching and an installation in Kyoto.

*) "dilated but not to slow ", musical term.