
Sabrina Gschwandtner
When Rosalind Krauss wrote in 1979 about grids as one of the mythic structures of modern art, she was clearly not thinking about quilts. But one of her main points—that the grid’s formal regularity represses a spiritual unconscious—is useful for considering Sabrina Gschwandtner’s quilts made from scraps of 16-mm film. The magic of these works is that the geometrical compositions of discards reveal an immanent world of human bodies laboring in tiny images, all lit from behind via light boxes or LED panels. This is no regressive return to the realm of belief, illusion, or fiction that modernism