A Presence in Mexico

Born in Berlin, Germany, in 1942, Sigi Zahn moved through a period of significant transition. In 1964, a travel scholarship from Germany brought him to Mexico, a move that would define his creative years. He remained active there until 1968, absorbing the atmosphere of a different landscape. His time in Mexico City was marked by a specific focus, leading to a solo exhibition at the Antonio Souza Gallery in 1967. This period of residency allowed for a direct engagement with the local environment and its light.

The Language of Pastel and Paper

The work from this era often reveals itself through the soft, tactile nature of pastel on paper. There is a certain immediacy in how the medium meets the surface, capturing a moment of thought or observation. In pieces like Como empezar la carrera, created in 1967, the hand is visible in the way the pigment is laid down. The works are often signed simply, such as "Zahn 67" in pencil, tucked into the lower right corner. These small-scale pieces offer a quiet, close-up view of an artist finding his footing.

• Technique: Pastel on paper
• Exhibition: Antonio Souza Gallery, Mexico City (1967)
• Key Work: Como empezar la carrera (1967)

His output during these years reflects a specific, focused energy. The choice of pastel suggests a preference for a medium that allows for both precision and a soft, blended texture. It is a way of working that requires a certain closeness to the paper, a steady hand, and an eye for how color settles into the grain.

A Quiet Record

The traces of his career remain in collections and through the history of those who held his work. Some pieces found their way into the hands of collectors like the Estate of Rita F. Rofe in Princeton, New Jersey, who gathered art from Latin America during the 1960s. Today, his presence is felt in institutional settings, such as the Bavarian State Painting Collections in Munich, which holds his work Window 9F from 1971. These records provide a map of a life spent translating observations into form.