Sala Lieber studied at the Kunstakademie Dresden and the Kunstakademie Düsseldorf, at the latter under Jörg Immendorff among others. Her work has been honored with the NRW-Forum Düsseldorf Sponsorship Award as well as the German government’s “100 Frauen von Morgen” (“100 Women of Tomorrow”) distinction.
“Sala Lieber’s art [...] isn’t about the ‘sweet’ surface in decorative, arabesque shaping and coloring, but about the development of a new image vocabulary founded on the Rococo of old masters.” This is how Elmar Zorn very accurately describes the works of the artist, born in 1980. Sala Lieber doesn’t imitate the painting of old or new masters, she simply applies a style that permits the observer an intellectual recourse to the respective era. The artist uses this technique in a variety of ways to open up textual levels that the observer can brush through and most likely find historical clues from which to start reading Lieber’s works. This general validity of what is represented can be seen in the artist’s graphic editions with such sophistication that her artistic position simply has to be singled out.
Sala Lieber describes her style in part as “symbolistic”. Her editions are characteristic of what matters to the artist: lavish, opulent image worlds that call on historical subjects and yet simultaneously permit the development of a contemporary esthetic with unusual shaping and coloring.