2003 M 11/12 18 parts plexi-glass and plaster 
2001 Mx2 work on wall, private house Stuttgart
MB 6 work on wall, private house Tübingen
2000 M.Loop work on wall, gallery of artist group Reihe 22, Stuttgart
MGr 12 work on wall, town-hall Stuttgart
1999 mgr 4 screen printing, 43 x 156 cm
mgr 3 screen printing, 43 x 132 cm
mgr 1 screen printing, 43 x 86 cm
mgr 2 screen printing, 43 x 111 cm
mge 4 screen printing, 43 x 159 cm
mge 3 screen printing, 43 x 134 cm
mge 2 screen printing, 43 x 108 cm
mge 1 screen printing, 43 x 83 cm
MGr 30 30 parts acryl, sand on aluminium, 18 x18 cm each
MGe 30 30 parts acryl, sand on aluminium, 18 x18 cm each
MR 32 32 parts acryl, sand on aluminium, 18 x18 cm each
1998 mr 32 drawing on transparent paper

Pulsating frequency in open space
She has realized a landscape installation in Kyoto. This installation was an important foundation for the contextual works in Group of Works II. She filled black and white gravel into 10 cm deep ditches that ran along the right and left of the broad staircase leading up to the Kurotani Temple. The Buddhist philosophy provided the spiritual context for the former student of Japanese language and culture. She shares this background with the artists of the Minimalist movement and Land Art of the Sixties. Concentration and intimacy mediate the dialogue between nature and art in Kyoto. 

The reduced language of symbols and signs engages in a dialogue with the historical location and the sign dominated culture. The second group of works begins with simple arithmetic manipulation 
of the already existing system of segmentation. On the basis of continual progression the meander form is deconstructed within its square-grid unit. These singular units alternate visibly as coloured (red, green, yellow) and non-coloured (white) surface segments. (MR 32, MGr 30, MGe 30). Noticeably, reading is accelerated. Glaring signal colours enhance the impression of dynamics, ease and pulsation at a higher-pitched frequency. 

The image of a previously quietly flowing river gives way to the impression of water hurriedly leaping over stones, flowing around curves and under bridges or swelling up in eddies. The artwork in its totality cannot be fully perceived by the spectator. At first glance the unifying link is missing. The spectator is led to assume structuring laws but fails in the attempt to verify this visually. Chaos and order develop a symbiosis that allows for contrasts full of tension. 

According to Heraclitus the nature of things exists as it does by reason of the everlasting process of transformation. The Logos, the objective principle of order in the world, ensures that the result of these dynamics is not chaos. “His doctrine of flux is that change is the manner in which ultimate reality, Logos, manifests itself.” * Sabine Laidig calls her scientific and artistic experiments within a group of works “samples”. Again quoting Heraclitus’ doctrine of flux that “that nobody can bathe in the same river twice” the artist constructs works in response to one another. Alternating between calculation and experiment, it is the process of critical discussion that leads to never ending surprising possibilities of intervening the meander system. In her artistic work, mathematics, functions, as it were, as a complimentary science. A primary trait of her work is that it has the character of “research in progress”. The aesthetic component emerges from mathematical logic.

Between the lines of challenging reading matter remain playful elements and atmospheric qualities. In order to be involved in this process the interdependency of both disciplines does not have to be understood rationally. ** At any given point in time the spectator can escape from the strict lines and emotional asceticism of sober symbolic language and single out one fragment of association. The relation to music, for example, exceeds by far the association of a black and white meander frieze with musical notation. The rhythm of the sequence draws attention to musical qualities. Gradually an acoustically imagined space becomes perceivable. Ideas of relating the meander form to noises or elements of sound already exist.

Sabine Laidig`s research work is defined by its communicative qualities. It is not her aim to intellectualise her work without taking the human being into consideration. For this reason, her works thrive on the dialogical principle of the relationship between the location and its social function. Murals in private and public places belong to the second group of works.*** An obvious example for the intellectual implications and limits, which a witty and subversive work in a public space is subject to, is the “greenery” covering the walls of a corridor of the Stuttgart Town Hall (MGr 12).

*)Anm. der Übersetzerin: „Heraklits Lehre der Werdens geht davon aus, dass Veränderung die Art und Weise ist, in der sich die letztendliche Realität, Logos, selbst offenbart“. Dictionary of Philosophy, Thomas Maitner (Hrsg.) Penguin Books Ltd, Harmondsworth, England, 1999.

**)Die drei klassischen Voraussetzungen für die Begegnung mit zeitgenössischer Kunst genügen: Zeit, Neugier und Unvoreingenommenheit.

***) town-hall Stuttgart (20.3.-20.8.2000), Reihe 22, gallery of artist groupStuttgart (20.6.-15.7.2000), private house Tübingen (Juli 2001), private house Stuttgart (September 2001).