Sarah graduated in Architectural History in 2009, later completing a Fine Art Graduate Diploma from Chelsea College of Arts, London in 2016. Despite its sculptural attributes, it is born out of the traditions, history and language of painting, with emphasis heavily placed on the performance and process of making.
From a position of material knowledge gained through learning paint’s inner rules, her work is a collaboration between her own desires and the unpredictable tendencies of her materials. Chaos and order sit side by side as elements of chance are employed through carefully considered mathematical systems, making visible the materiality of paint and the event of painting itself.
In works such as Series One, canvases are hung on sculptural wooden frames, the paint poured and spun at angles onto further canvases to create pairings that challenge the idea of authorship - one that is carefully considered by the artist as it spins, the other, static on the floor, waits to collect the waste materials.
Rather than artificially aiming for permanence through painting, she seeks to highlight the fragile and impermanent nature of life. She does this by creating work that has the ability to adapt and transform over time as it is moved from one position to another. The final paintings, a by-product of a larger scheme act as documentation, objects and commodities - the aftermath of the work itself.
It is important to me that collectors and buyers understand the process of making and the studio as a place of production. I would therefore use this opportunity to showcase my practice from conception to completion.
Digital sketches showing how my work is planned, ordered and angled will be displayed on the TV screen (image 2 - digital sketch for Euclid’s Railings, 2017). Where appropriate, a series of completed paintings will hang - or be propped up on the furniture - in the room.
In addition, several small, free standing frames - similar to those shown in image 3, Series One - will demonstrate the process of making. Throughout the duration of the fair these frames will spin several canvases, one above the other, allowing each one to paint the other. They will be designed to mirror the dimensions of the furniture and architectural features in the room. The order and angle of the paint pours will be based on geometries found in the local Roman architecture. Similarly, the colours will be selected to reflect those commonly found in High Renaissance art and design.
Carefully curated, this room will demonstrate the collaboration between my preconceived ideas and the unpredictable tendencies of my process and materials.