Luxembourg-based conceptual installation artist Sali Muller dives into the world of self-image through materials she uses to create a reflective multiverse. While exploring unordinary ways to show co-existence with human self image and vanity, she brings a mystical vision into the physical world through her implementation of mirrors, light, sound, and found objects.
Sali Muller negotiates the meaning of time-sections new and oscillates between premature, unexplained sequences and infinity. In this way she extends the well-known allegorical images of European art history and translates them into a present of fractures. She combines conceptual sculptural positions with a series of complex themes that are important for her entire creational process. She uses artistic means to explore currently relevant issues, in particular those of identity, gender roles and (self-)representation in the context of social change and in times of self-optimisation. Similar to the individual attempts to distinguish ourselves in a social fabric, Sali Muller marks the exhibition spaces with light-reflecting installations, dazzling objects and projections. Her visual “comments” become a reflection of a time where delusions increasingly play a significant role.
Harald F. Theiss, Curator
Sali Muller is a sensitive analyst of habits of vision and perception, she focuses on concepts such as selfishness and, ultimately, finiteness. She is a young, up-and-coming artist who focuses primarily, within the medium of the installation, on the impossibility of depicting a person. With her Concept Art, Sali Muller investigates the role of the individual in relation to himself and his environment. Not least of all, she addresses the issue of how human beings alienate themselves from nature and from their own self-image. The artist’s repertoire includes photography, objects, light- and sound installations. Her work stimulates reflection and, quite significantly, consists of mirrors which for the most part do not reflect images and have been treated by the artist in various ways. The mirror-works belong to an aspect of her oeuvre in which the artist focuses on the subjectivity of perception. She takes the mirror as the point of departure for a narrative of anti-reflection. With her dysfunctional mirror works, Sali Muller directs our attention to the possibility of getting to the bottom of our visual culture. She does this by treating the contemporary obsession with the transparency of all private processes with skepticism and irony – one need think only of the folly of self-revelation that runs rampant on Facebook and other Internet platforms.
Frank-Thorsten Moll Director, IKOB, Museum of Contemporary Art