Who I am

Sabine Alexandra Lindner was born in Austria to an Austrian mother and a German father.
Her parents, both artists who went through the Brera period in the 1960s, passed on to Sabine their love for art, something that she has never forsaken.
At-home experiences, then the arts high school, and then Urbino’s ISIA, a “numerus clausus” graphics school.


Her numerous experiences in diverse areas led her to dedicate herself to ceramics as well as fashion, jewelry and design objects.

Architects use her creations to make various types of spaces unique.
She has exhibited in Germany and Italy, and her works are included in many collections.
She lives and works in her home-lab in Marche, Italy. She is married and has two children.


Sabine’s dishes are there in a thought-provoking way. I heard two ladies say how beautiful they were and this is perhaps the most all-around aesthetic opinion one can express because a work of art, if it is one indeed, must simply be liked, so this sense of enjoyment, albeit “selfish”, this exclamation “Beautiful!”, is the best award possible to someone like Sabine. This does not mean that I, in my art-historian frenzy, will not highlight certain aspects. I previously claimed that, looking at these paintings, historical memories come to mind, and I dropped a few names that I do not wish to repeat now because this is not an art-history lesson; it is simply a conversation. However, beholding these pictures – beyond the joyful colours, the love for life, the cosmic sense , beyond the cosmic sense of the seasons’ cycle that stand out, this continuous flow of light and colour – there is also a cultural element that partly reveals Sabine’s international “wholeness”. Sabine is at once Italian, German and Sicilian, so she’s a bit of everything and this multi-ethnic trait seems to have found quiet in the peacefulness of this hilly town. She lives perched up at a restored castle that is difficult to qualify as a house-castle or a castle-house, a place where she has given birth to these wonderful works. It bears repeating: these works are doubly useful because they contain our feelings, our sentiments, and it is an immediate pleasure, a beauty so spontaneous that it espouses perfectly the Mediterranean traits of our culture. And yet, on the other hand, they are fit for a type of deep philological interpretation with extraordinary cultural layers: we have mentioned Picasso, Miró, Klimt, all of whom relate perfectly to those remarkable images that the professor showed us a moment ago and that Sabine showed us thereafter. You have established a bridge, you have put on fabulous show-making with this colour-rich scenography that has brought back to reality this hamlet’s history and that nests itself to the philological sentiment of our guests.

Works of art, I say it often (inasmuch as I live trying to explain them but also doing my best to guide viewers to enjoy without too much speaking), indeed art is something that one must use without too many words passing through our lips, and I believe that even my own words can stifle your own instinctive sense of visual immediacy. So now let me pull myself out of the way and let you experience the wonder of Sabine’s dishes.

Gustavo Cuccini
Professor of Contemporary Art, Università per Stranieri di Perugia

Conference Prof. Cuccini makes reference to:
- Prof. R. Rossi, director of Urbania’s Museo Diocesano
- Mr. S. Biagini, president of Urbania’s “Amici della Ceramica” association

In studio
Montelupo, Firenze
1996 Palazzo del Comune Cagli
1997 Göttingen, Kleine Gallerie Klinikum - Germania
2018 Viareggio, My Vintageacademy - Versilia Yachting rendez-vous