© Text from: RISING – Young artists to keep an eye on
DAAB Verlag, Köln 2011
Rebecca Maria Jäger

In Sabrina Jung’s series of Views, our gaze may pass through a front window into a hazy distance, be swallowed up in panes of glass covered with condensation, or may remained trapped inside an interior whose windows harbour no more than the possibility of seeing outside. These works show views as they exist or are coveted inside us. They show not a vista as it appears in real life, but blend images drawn from our memory and our yearnings with impressions of the actual spot from which the view was experienced. Sabrina Jung collects views that look outside, inside, across and through, in photographs she then archives, allows to mingle and finally assembles into new constellations. The pictures created in this way grant expression to social and personal longings for breadth, clarity and depth of vision. They enable the places composed by the artist to be re-mystified, to be filled with new meanings supplied by the feelings or intellect of the viewer.

Sabrina Jung at the same time investigates in her works the potential of photography as an instrument of transformation of personal memories and their truth. In the series False Memories, the artist works in a collage technique, insofar as she manually adds further individuals or animals to photographs by others and thus allows new relationships and stories to arise. She also uses collage in the works in her Masks series, in order to break with the staged aspect of photography and to falsify the identity and sex of the individuals portrayed by explicitly replacing distinctive features such as the mouth or nose. In this way, symbolic realities playfully arise. The viewer is thereby presented with a model of how to approach the medium of photography, a model whose quality consists of questioning the fact of
outer and inner reality and of photography as a projection screen. Photography here not only interrogates itself but at the same

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