Dr. Anke Schwartz-Weisweber:

"Malerei mit Gold" was the title of the exhibition in the Dresdner Bank.

Gold and a bank - how appropriate!

In one place Sabine Beuter will have a thin layer of gold over the paint, in another she will paint over the gold. Gold gives her paintings something mysterious. Sometimes it seems almost sculptural - standing like a block in space. It always seems precious. It is reminiscent of old cultural objects - something sacral - and with the calligraphy recalls more a mosque or oriental manuscripts than church paintings.

It suggests the transition to another sphere. The spiritual world to which her art belongs is on a different level from the profane everyday world that she excludes from her paintings. Many of her works radiate harmony, order, and serenity.

"In touch with Egypt" was the title of the exhibition in the Egyptian Embassy.

Touching is perhaps very intimate, almost tender, and this describes the relationship between the artist and the country and its people. The trained architect and painter has an unerring feeling. Created from an inner impulse, the pictures transmit energy, transport perceptions of memories, emotions, or thoughts and dreams, and are uplifting in their beauty. If only the dialogue between Orient and Occident were always so harmonious. I find it really hard to announce the end of this congenial interplay between these beautiful paintings and this wonderful building.

(Exhibition: "Malerei mit Gold", Dresdner Bank, Gedächtniskirche Berlin, 2007)

Professor Wilhelm Gauger in the Galerie Bauscher:

"The works of Sabine Beuter exude self-confidence, sensibility, and security, and this already render many questions superfluous. And what we see in the pictures seems like a fragment from ancient times. But what is there? Is it a prophecy? A divine command, or a law? Is it a poem?

Whatever it is, it demands attention, and this attention goes beyond mere looking, beyond the optical, retinal, and what can only be seen with the eyes.

We see something beyond the visual and believe that we could almost translate it into words. It is a message, whether secret or revealed, a message which uses colour and is not restricted just to information, a message which suggests history.

The blue in the paintings of Sabine Beuter always evokes something magically secret.

And then comes the gold, like a shock - and it is the shock which justifies it. Gold always represents the acknowledgement of something costly. The gold does not act in isolation, but is used in combination with other colour effects, it combines and at the same time stands out, wants to be seen together with other colours, separates areas of colour from one another, and lets others merge into one another around it, is itself involved and yet separate.

Sabine Beuter's paintings do not formulate anything, do not propose a programme or dogma, but only suggest what could be, with the mysticism of the colours."

(Exhibition: "Draussen Buntes Leben", Galerie Bauscher, Potsdam, 2001)

Prof. Dr. Tereza Oroszco:

The painter Sabine Beuter has proved to be a versatile artist in recent years in her chosen field of artistic expression. She has developed from figurative to abstract presentation. There is evidence in her work of a precious equivocality of visual perceptions: structures, signs, writing, thoughts, recollections, feelings and colours. Most of her pictures show dynamic and at the same time complex paint structures, dominated by warm hues. Areas of paint cut across and overlap one another. Structures and colours dissolve into each other in organic movement.

The traces left behind are an important indication of the painting process, because they reveal cracks, paths and secret symbols. The most important instrument for this form of expression for Sabine Beuter is the spatula, with which she penetrates deep into the surface structure, revealing covered areas, and in this way makes almost forgotten contents visible again. Essential elements in the Sabine Beuter's compositions are symbols resembling written characters, which set accents and form the contents, as it were, into a symphony.

(Exhibition: "Zehn Tage in Rabat", Galerie Aufzeit, Berlin, 1998)