{"id":33,"date":"2021-06-26T08:27:25","date_gmt":"2021-06-26T08:27:25","guid":{"rendered":"https:\/\/sahrai-fineart.com\/?page_id=33"},"modified":"2023-05-07T19:36:38","modified_gmt":"2023-05-07T19:36:38","slug":"referenzen","status":"publish","type":"page","link":"https:\/\/sahrai-fineart.com\/en\/referenzen\/","title":{"rendered":"Testimonials"},"content":{"rendered":"
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Dear Laila,
\n\n... I looked at your paintings again and again. ... to my humble eye it was a great surprise. At first, I noticed something very special. At the first glance already. You work in different forms of expression, different techniques, worlds of color and space, as I would like to put it once. If one has never heard of you, one would like to think that one can imagine the soul of the artist a little bit. Great. Some of your paintings I find simply extraordinary such as \"The Desert Flower\", \"Dei Sculpturali\", \"Muave\", \"too much head is a lot to lose\". Of course, I know that paintings in nature have a completely different effect, but this can only enhance the impression! ... The reward of the brave, however: There is a treasure to discover, your pictures suggest it, show it already clearly. I am curious about your next works. One can see, one will still get a lot of you to see, to feel ...\n\n
Carpe Diem\n\n\n\n<\/div>\n\t\t\t\n\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tPeter Ginter (11. August 2007)<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tPhotographer: www.peterginter.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Letter of Recommendation for Laila Sahrai


\n\nLaila Sahrai has successfully completed her four-year studies at the Academy of Enschede in the field of painting with the title \"Bachelor of Fine Art\" in June this year. \n

\nI got to know and accompanied her as a student of painting in my function as coordinator and lecturer of the department of painting from September 2005 to June 2007. \n

\nDuring this time she developed her painting extraordinarily fast. She was not content with short-term interim results, but engaged in the work process with great curiosity. The direct and at the same time inner expressiveness of her paintings speak for themselves and are the result of concentrated work on her paintings. She pursues her painting independently and seriously. \n

\nWorking with her was very interesting and invigorating, and it should be emphasized that she always knew how to implement criticism constructively. She had a very stimulating influence on fellow students due to her personality and high level of commitment to her work. \n

\n\nIn the course of her studies, Laila Sahrai was able to lay a good foundation for a free career as an artist, which we as a college look forward to with great confidence. \n

\n\nWe wish her all the best and continued success for her future career and life.



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Original text in dutch
\nAanbevelingsbrief voor Laila Sahrai
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\n\nLaila Sahrai heeft haar vierjarige studieprogramma aan de Academie te Enschede in het vakgebied schilderen, tekenen, grafiek, met de titel \u201cBachelor of fine art\u201d in juni van dit jaar met succes afgesloten.

\n\nIk heb ze als student der schilderij in de tijd van september 2005 tot juni 2007 in mijn functie als co\u00f6rdinator en docent van het vakgebied leren kennen en begeleiden.
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\nGedurende deze tijd heeft ze haar schilderij uitzonderlijk snel verder ontwikkeld. Ze had er niet genoegen van korte tijdige tussenresultaten maar confronteerde met grote nieuwsgierigheid het werkproces. De directe en tegelijk innerlijke uitdrukkingskracht van haar werk spreekt voor zich en ze zijn het resultaat van het concentreerde werken aan haar schilderijen. Zij oefent haar schilderij zelfstandig en serieus.

\n\nHet samenwerken met haar was zeer interessant en belevend; het moet erbij getoond worden dat ze begreep kritiek steeds constructief om te zetten. Door haar persoonlijkheid en haar actieve werkinzet had ze een heel stimulerende invloed op haar medestudenten.

\n\nLaila Sahrai heeft in het verloop van haar studie een goede basis voor een vrije loopbaan als kunstenares kunnen leggen, dat wij als colleges met grote vertouwen tegemoetkomen. \n

\nWij wensen haar voor haar verdere beroepsloopbaan en levensweg alles goede en verder veel succes.\n<\/div>\n\t\t\t\n\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tJoris Geurts (16. September 2007)<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tHead of the painting department Artez- AKI Enschede
Campus University Twente, Enschede, the Netherlands <\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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About the Artwork of Laila Sahrai

\nLaila Sahrai's work is characterized by stratification.\nBoth in a formal and substantive sense.\nThe adventurous and complex referrals bear witness to a reflexion on the complex society we live in.

\n\u00a0Laila, who experiences the stratification of different cultures from close by\ndemonstrates an inquisitive, self-critical, open-minded and creative attitude.\nIn her work, the faculties of the creative imagination and the importance of feelings and intuition are put first and set against scientific understanding.

\nLike the romantics, she is not satisfied with the mere imaginability of reality. According to them reality can only be known by intuition and not by understanding, it can only be experienced in a unity of subjekt and objekt.( with Novalis we find such an intuitive and mystical unification described )

\nYet we also see the question of belief in the possibility of still being able to bear witness to the romantic experience. The irony and the (formal) chaotic elements want to testify of that belief in 'the other' but show in their rigidity at the same time the suffering and the absent Utopian reconciliation.\u00a0 There is the tension of social catastrophe and a redemption that has become questionable.

\nBut it is her creative agility of the open process that makes room for ever new vistas. An openness that constantly activates the viewer.
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\nAlso her thesis is worth mentioning, after I had read it I wrote to her :\n\u00a0What a beautiful clear and nuanced thesis.<\/span>It is one of the best theses,<\/span>I have seen.\nSo professionally informative and important in content.\nI read it with excitement and thought I recognized some of it as a painter\n- draughtsman.\nPROFICIAT, a cum laude graduation as far as I am concerned.\nThank you .Make a copy of it for the library if you like.\nThat would be a true gift.

\nYours sincerely,
\nj p k p\n

\n(\u00dcbersetzt mit www.DeepL.com\/Translator)




Original text in dutch
Over het werk van Laila Sahrai
\n\nHet werk van Laila Sahrai wordt gekenmerkt door een gelaagdheid.\u00a0Zowel in formele als in inhoudelijke zin.\u00a0De avontuurlijke en complexe vewijzingen getuigen van een reflexie over de\u00a0 complexe samenleving waarin wij leven.
\n\nLaila die de gelaagdheid van verschillende culturen van nabij meemaakt geeft blijk van een onderzoekende, zelfkritische, onbevangen en creatieve houding.\u00a0In haar werk worden de vermogens van de creatieve verbeelding en het belang van gevoelens en intu\u00eftie voorop gesteld\u00a0 en tegen het wetenschappelijke begrijpen afgezet. 
\n\nEvenals de romantici neemt zij geen genoegen met het louter denkbare van de werkelijkheid. Volgens hen kan de werkelijkheid alleen door intu\u00eftie en niet door begrip gekend worden, ze kan alleen ervaren worden in een eenheid van subjekt en objekt.( bij Novalis vinden we zo\u2019n intu\u00eftieve en mystieke eenwording beschreven )
\n\nToch zien we\u00a0 ook de vraag naar het geloof in de mogelijkheid nog te kunnen getuigen van de romantische ervaring. De ironie en\u00a0 de (formele) chaotische\u00a0 elementen willen van dat geloof in \u2018het andere\u2019 getuigen maar tonen in hun verstarring tegelijk het lijden en de afwezige Utopische verzoening.\u00a0 Er is sprake van het spanningsveld van maatschappelijke catastrofe en een twijfelachtig geworden verlossing.
\n\nMaar het is haar creatieve beweeglijkheid van het open proces \u00a0 die ruimte maakt\u00a0 voor steeds weer een ander vergezicht. Een openheid die de toeschouwer voortdurend activeert.
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\nOOk haar scriptie is zeer vermeldings waard, nadat ik hem had gelezen schreef ik haar :\u00a0Wat een prachtige\u00a0 heldere en\u00a0 genuanceerde scriptie .Het is een van de beste scripties die ik onder ogen heb gekregen.\u00a0Zo professioneel informatief en belangrijk van inhoud.\u00a0Ik heb hem\u00a0 met opwinding gelezen en meende het een en ander\u00a0als\u00a0 schilder - tekenaar te herkennen.
\n\nPROFICIAT, een cum laude afstuderen wat mij betreft.\u00a0Dank je wel .Maak er een kopie van voor de bibliotheek als je wilt.\u00a0Dat zou een waar geschenk zijn.\n\n
Hoogachtend,
\n\nj p k p
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tKars Persoon, (17. September 2007)<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tMentor of the painting department Artez- AKI Enschede
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Opening speech by Prof. Dr. Dr. G\u00fcnther Berger at the exhibition \"Delusion, Sense or In-Between\", Leipzig 2012

\n\nThe first encounter with the artistic work of Ms. Sahrai was due to this catalog - purchased at a vernissage about 8 months ago! (Exhibition Nicolaistr.)
\nAlready at a cursory glance at the reproductions I felt: here was a young painter + graphic artist with basic artistic skills, imaginative original design ability at work; central sense and meaning contexts of our lives, our inner psycho-spiritual state in a, full of contradictions, conflicts, threatening, not rationally always grasp, understandable world to give pictorial expression. Her fundamental mental + artistic conception thematizes here with the words \"delusion, sense or in-between\". Accordingly, she tries on large picture formats to give form to in-between spaces by dialectical coupling of extremes, of numerous disparate object elements, as we know them from surrealist works (Max Ernst, Salvador Dal\u00ed, etc.).

\nHer source of inspiration are, among others, dreamy experiences, e.g. as an Afghan, her fears, wishes, hopes and the culture of her Afghan homeland!\n

Her paintings are masterpieces of exciting expressiveness of symbol-laden form and color compositions.

\n\nGraphic works here in exhibition, back room: Drawings as quickly thrown down sketches \/ studies in a flowing Rhythmic Duktus possess in comparison to \"finished\" pictures the charm of the immediate, the spontaneous, very personal intimate!
\n- Developed from pictorial imagination \/ fantasy, also playful motor activity - linear handwriting partly preliminary work - autonomous drawings ....... ! (It greets from the distance drawings of Matisse, also Picasso... u.a. ....! Nevertheless not epigone-like)
\n- Visions of perceptions, the dream as a certain means of knowledge!
\n- Light-dark works: (....?) Differentiation H.D.-effect of the floating, swaying, airy; Reminiscent of East Asian ink works > Hokusai e.g.
- Visions of perceptions, of the dream as a certain means of cognition
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\nComparison: Frida Kahlo - Laila S. Works interesting. The former very concretely bound to the person Frida, with Laila S. generalized as artificial content (expression of suffering e.g. ....).
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\nAll the written about Laila's artistic work good + correct, but still too much surface, would formulate more differentiated today...and so on.\n<\/div>\n\t\t\t\n\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tProf. Dr. Dr. paed. habil. G\u00fcnther Berger (on the \"Delusion, Sense or In-Between\" series, 2012)<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tFormer professor at the Institute for Art Education at the University of Leipzig<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Opening speech for the exhibition \"Behind the Veil\" (Michael Touma, Leipzig artist)
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\n\"The works of Laila Sahrai are dedicated to preserving the culture of her native Afghanistan. The title of her exhibition, \"Traditional Costumes and the Merging of Veils and Headdresses among Afghan Women,\" shows traditional costumes and jewelry of Afghanistan's different ethnic groups. However, she does not let her paintings remain in the documentary, but processes ethnographic findings with her own artistic works. She chooses themes like dance, lovers and portraits of Afghan girls and women. She is mainly concerned with the representation of beauty as an expression of freedom and life.....\nFor the artist, remembering the past does not mean escaping, but rather reflecting on the diversity of Afghanistan's history and the desire to see more than just current events....\"\n

\nExcerpt from the speech of the Leipzig artist Michael Touma on the exhibition \"Behind the Veil\" in Leipzig, 2012<\/div>\n\t\t\t\n\t\t\t\t\t\t
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Opening speech by <\/span>Dr. Nicoletta Torcelli<\/span> <\/span>at the exhibition<\/span>\"WELTENSAMMERINNEN - Innenwelten der Au\u00dfenwelt\"
on May 12, 2017

\n\n... For Laila Sahrai, the fourth in the group, the open process is also essential. She was born in Kabul \/ Afghanistan. As a 9-year-old she came to Germany ...

\nThe sensitive - the sensing of the senses - that is central for her. One of her sources of inspiration is Romanticism, this radical movement of thought that shaped philosophy, art, literature and music from around 1800 until well into the 19th century. In the series of works shown here, which she is currently working on, Laila Sahrai refers to Novalis' \"Blue Flower,\" which became a central symbol of Romanticism.

\nThe blue flower is a symbol of the longing for distance, as well as a symbol of the metaphysical striving for the infinite.

\nIn this motif is the constant search for something that is not there - the absent place as an unattainable goal. This search - closely connected with the search for love, for happiness, for tranquility - this is an endless story, which is lived and experienced anew in every culture, in every personal destiny.

\nLaila Sahrai gets involved in this search, in this process, by painting the blue flower again and again. If you look at the paintings, you can see that some of them are collages, the flowers are glued on, giving the surface something in relief. If you look at the paintings even more closely, you can discover a genesis, a development, because the flowers show different phases and states. At the beginning, in the earliest picture of the series, the flowers are still \"grounded\", they are connected to the earth thanks to a net-like network of roots. Gradually they detach themselves from matter, lose their flower form and transform into buds, or actually rather capsules. As such, they rise up and float through a light, bright blue, reminiscent of the sky, while carrying all the other colors of the palette that the artist has mixed into it. In the last painting of the series - quite freshly created - the artist takes a different approach. She paints a single flower - and at the same time veils it, for it can hardly be made out, it almost dissolves into its bright surroundings. Or rather, it merges with this environment. It becomes immaterial. Laila Sahrai leads us viewers to the limits of perception, she plays openly with appearance and disappearance. The blue flower is just not to be grasped.

\n\"One is always in search of oneself\".
\nThat's what the artist dropped in conversation when we talked about the works while setting up the exhibition. And that should be our motto now. Thank you, and have a good time collecting worlds!<\/div>\n\t\t\t\n\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tDr. Nicoletta Torcelli (on the \"Blue Flower\" series on May 12, 2017)<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tKunst & Kommunikation<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Laila Sahrai's Art does not shock
\n\ndoes not provoke
\n\ndoes not scream for attention
\n\nit is simple
\n\nit moves and touches
\n\ngentle, sublime, tender-hearted
\n\nstops time
\n\nforces to pause
\n\nto penetrate into the matter of the spirit
\n\ndecelerates the \"understanding\" of the work of art
\n\nthrows the viewer back on himself
\n\ndeep and wide
\n\nand then it shocks
\n\nand amazes.<\/div>\n\t\t\t\n\t\t\t\t\t\t
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Ano Nym (on the \"Blue Flower\" series, 2020)<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Anonymous<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Kontakt<\/strong><\/p>

Laila Sahrai<\/p>

info@sahrai-fineart.com<\/p>

+49 (0) 761 155 354 12<\/p>

Vordermattenstra\u00dfe 2<\/p>

79108 Freiburg<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Impressum<\/a><\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Datenschutz<\/a><\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\u00a9 Laila Sahrai 2021<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Referenzen Liebe Laila, \u2026 Ich habe mir deine Bilder angesehen wieder und wieder. \u2026 f\u00fcr mein bescheidenes Auge war das eine tolle \u00dcberraschung. Zuerst fiel mir etwas sehr Besonderes auf. Beim ersten Blick schon.  Du arbeitest in verschiedenen Ausdrucksformen, unterschiedliche Techniken, Farb- und Raumwelten, wie ich es einmal ausdr\u00fccken m\u00f6chte. Wenn man noch nie von dir […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ocean_post_layout":"full-screen","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"off","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"on","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"off","ocean_display_footer_bottom":"off","ocean_custom_footer_template":"0","footnotes":""},"class_list":["post-33","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/pages\/33","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/comments?post=33"}],"version-history":[{"count":325,"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/pages\/33\/revisions"}],"predecessor-version":[{"id":3364,"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/pages\/33\/revisions\/3364"}],"wp:attachment":[{"href":"https:\/\/sahrai-fineart.com\/en\/wp-json\/wp\/v2\/media?parent=33"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}