Originally a figurative painter, Sarah’s work has moved between abstraction and figuration, creating a space in which she, as well as the viewer, may discover more about who, or what, we are – emotionally, psychologically, spiritually, and physically. Sarah sees her work as a space for connection – within and between ourselves.
As Sarah’s spiritual and creative journey has progressed, Sarah has found herself less interested in theme, or a particular subject matter, and, more, in the process of mark making and creativity itself. Painting for Sarah is about the experience of painting – a physical experience that helps her to engage with and understand herself as a physical body able to experience, connect with and create other physical things.
Recent works explore the process of revealing and concealing – both text and herself. In the process, she posits the question – where can, or do, the universal and personal meet? Is it in the general, the abstract, or in a feeling taken out of a personal, or narrative, context?
And there is another question implicit in her process – what we are looking for? From childhood games of hide-and-seek, to life-long adult quests to deepen knowledge and understanding, we are programmed to ask questions, to seek, understand, and discover… To make “progess” perhaps. In her work, Sarah asks what this actually means for each of us – what are we each really looking for. Would knowledge of the whole of the text- the whole story – be the answer, be fulfilling, or somehow satisfying? Or do we enjoy the not-knowing?
Sarah’s work has been influenced, at various points to different degrees, by the Abstract-Expressionists and the Neo-Expressionists (most recently Cy Twombly and Mark Rothko) and, consistently, by the Chinese Scholar-painters of the 10th-13th centuries.
Sarah trained at the Motley School of Theatre Design and at Hertfordshire University, having read Social Anthropology at Cambridge University. She is based in London.
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