Sarah believes that art is ultimately a medium for communication and self-reflection: an artist can use their visual language to transmit a message into the world, and a viewer at any given point in history can come across that message and understand it through their own filter of experience.
The underlying theme in Sarah’s artwork has always been about examining the human experience: our relationship to nature, our relationship to physical space and scale, our relationship to our own memories and concepts, our relationships to others and their opinions and perspectives, our relationship to commercialism, consumerism and social expectations.
Sarah’s artwork habitually moves between representational and abstraction, some pieces hinge on both. With her representational work she frequently depicts west coast marine and land animals going through some sort of transition, and with her non-representational work she focuses on relationships of shapes and colour within a given space, sometimes using layering techniques to further emphasize special relationships and depth.
Sarah also has many works that begin with a very rigid concept, particularly her works that are conservation based, where the medium for relating the concept is integral to the overall message and is determined during the creative process.
“Viewers identify with different elements of my work, which in itself is an endless source of inspiration for me. For instance, does a viewer identify with a particular animal because they have a personal history or memory relating to that animal? What makes one animal more appealing to the viewer than another?” Sarah asks similar questions around her abstracted pieces: “Why do some abstract forms appeal more deeply than other parts of a piece? If there is nothing to identify with representationally, how and why can a simple form inspire one person and yet not another?”
With her conservation-centered works in particular, she wants the viewer to grasp something very specific and to let it fully sink in “How does the viewer feel when they realize that they have been gently implicated in the piece? Will they change their behavior at all or do they leave the concept behind when they leave the piece and carry on in their daily routine?”
Sarah always has several projects underway, and over the next couple of years you can expect to see some extraordinary bodies of work coming from her studio. To keep in touch and receive updates of exhibits and events she is participating in please sign up for her E-newsletter and follow her on social media.