Instants of Liquefying into Unison showcases Brenda Sabbagh's latest and most transformative work at the Argentine Consulate in New York City, marking a turning point in her artistic career. The works were triggered by the catalytic experience of moving her practice to New York for her residency in April 2024. Nine months later, this new body of work is exhibited in the city where it was conceived, embodying an artistic evolution and a profound exploration of freedom. In the exhibition, Sabbagh's bodily figures remain in perpetual flux-shifting, transforming, mutating, and reconfiguring in search of connection and shared resonance. Sabbagh was deeply influenced by her long­standing fascination with cinema, particularly the fragmented, discontinuous editing and long takes of Nouvelle Vague and an extensive archive of film frames she has gathered over the years-all central to her today's visual language. During her film direction studies, Sabbagh was impacted by her readings of Gilles Deleuze and Felix Guattari on rhizomatic forms-a nonhierarchical, nonlinear, centerless network with multiple entry points. They shaped Sabbagh's artistic philosophy, infusing her practice with themes of fluidity, transformation, the ethereal, and the dissolution of boundaries. 

However, she could not translate these concepts into her work until her residency in New York. She explains, "By unsettling yourself, something shifts In the body, allowing other images and ways of seeing to emerge." This sense of dislocation allowed her to create works that materialized these profoundly ingrained ideas that have resonated within her for more than ten years. 
Before arriving to New York, Sabbagh had already been at odds with the art system and its imperative need to categorize artists and their works into rigid classifications. This artistic frustration built her desire to move beyond rigid structures. Her time in New York brought this dilemma to overflow, allowing her to let go of the rigid narrative structures that once anchored her earlier practice. It led her to embrace a new subjectivity for the body-one that prioritizes materiality and the corporeal over fixed storytelling structures. She reflects, "I had already fantasized about abstracting the body­this figure, which was very recognizable in my previous works. It was about trusting myself as an artist, not as part of a system. I felt responsible for finding a new way of seeing." 

This newfound trust in abstraction has allowed Sabbagh to explore the ineffable and the intangible from another realm, translating them into a physical language. The resulting visualization echoes her rejection of categorization as a precondition to creation. Her works embody a search for freedom-a space where abstraction and figuration coalesce into a dynamic interplay of color, texture, and gesture liberated from the constraints of representation. 
Drawing from cinematic aesthetics, Sabbagh explores dual spatialities reminiscent of film-a fixed, steady background juxtaposed with dynamic figures that stretch, contort, and recombine as if captured in a long photographic exposure. Like the rhizomatic forms that inspired her, her approach is now fluid, and every node links to another-aquatic, boundaryless bodies in perpetual motion dissolve and reshape in an eternal dance of transformation. 
Sabbagh's way of painting is deeply tied to her physicality and movement. Her gestures are not just marks on a canvas but extensions of her body's rhythm, channeling energy and emotion onto the surface. As she describes: "I involve my body a lot. The brushstroke relates to my body's gesture." She further explains how this physical engagement has evolved over time: 
"This also happened with my earlier works, but the narrative weighed heavily on me back then." 
For Sabbagh, the process of creating is as vital as the finished work itself. Layers of oil paint sweep across the surface, creating textured compositions where she deliberately leaves gestures, mistakes, and layers as visible traces of the creation. "A longing for freedom is also deeply tied to showing the process within the work-the idea that the final work is a process in itself, something infinite," shares Sabbagh. She sees art as a mirror of human experience­an open-ended journey of becoming rather than a fixed state of being. 

Sabbagh's use of unconventional supports­tiles, translucent screens, bamboo shades, and others-plays a crucial role in her visual and conceptual language. The tactile and mutable surfaces provide her with a sense of freedom, giving her new opportunities to develop different languages. 
The exhibition's title, Instants of Uquefying into Unison, encapsulates the spirit of this new series: the picture of a momentary surrender to collective resonance, where individual forms dissolve into a greater whole. These fluid, aquatic figures-branching out in all directions 

-- reflect Sabbagh's belief in the transformative power of connectivity and multiplicity. Her works offer a counterpoint to the compartmentalization and individualism of contemporary life, challenging us to relinquish preconceived notions, embrace fluidity, and discover unity in the collective human experience.

_ Josefina Vilela