This paper examines the paradoxical portrayal of love in the selected plays of Sarah Kane (1971-1999), a renowned British playwright known for her provocative and intense works. Through a postdramatic lens, this study explores how Kane challenges conventional notions of love and its complexities in her plays, which include Blasted (1995), Phedra's Love (1996), and Cleansed (1998). By analyzing the themes, characters, and dramatic techniques employed by Kane, this study aims to shed light on the conflicting nature of love and its transformative power in contemporary society. The paper examines how Sarah Kane's three plays depict the dual nature of love. All three plays are known for their dark and often ferocious themes. Nevertheless, beneath the surface of violence and melancholy, there is often a deep and abiding love. This love can be a cause of severe abuse. Drawing on a postdramatic approach, the analysis of Kane's three plays has revealed three important findings: (1) In all three plays, love has been depicted paradoxically as being capable of both destruction and redemption; (2) through the use of postmodern theatrical elements, Kane has conveyed the abominableness of life; (3) Kane has, swimmingly, created aesthetically pleasing image out of the violent and chaotic atmosphere.