1 (of 25)

Curtain (Provenance)
oil on canvas
8 x 6 inches

Provenance Series (2016 - Present)

The paintings included in this application  (no. 1 - 7) were inspired from fragmented photographs I took of rooms in my family home. Abstract in appearance but not in content, these paintings delineate the interstices of lived space. Initially I set out to reproduce the photographs as a way of preserving them, rebuilding fortifying walls with paint. They were intended to be facsimile, perfect replicas. The paint began to bend and turn in a way that left them in an intermediary place, between reality and memory. Stripped of recognizable forms, they walk the line between representation and abstraction. In a way, I see them as perpetually forming and transforming.

2 (of 25)

Pink (Provenance)
oil on linen
12 x 9 inches

3 (of 25)

Green (Provenance)
oil on linen
12 x 9 inches

4 (of 25)

Provenance (no. 2)
oil on linen
14 x 11 inches

5 (of 25)

Provenance (no. 6)
oil on linen
14 x 11 inches

6 (of 25)

Provenance (no. 1)
oil on linen
14 x 11 inches

7 (of 25)

Untitled (Provenance)
oil on canvas
8 x 6 inches

08 (of 25)

Poems I Tried to Write You, HD video, 2015
Duration: 00:56:41 Segment: 00:01:54
Film Type: HD video

In 2013 I transcribed eight personal poems using a broken 1970's electric typewriter. In 2015 I asked some friends to read them.

"Sarah is not the poet of Love but she has written poems. Recently, she found an electric typewriter and transcribed some sombre ones she’d written years ago. The typewriter refused entire swaths of alphabet; more page got through. The poems, once dense, lightened. Now friends who’d never seen them before read them aloud, reshaping lines like oo gropped reentess. Working to form the words, the readers smile spontaneously and in spite of themselves. Not regressively, but redemptively." -- Excerpt from "love's moves", Eye Rhymes exhibition essay by Heather White

To see the poems that were read visit, http://www.sarahsandsphillips.com/Eye-Rhymes

Segment Features: Kristen D Schaffer, Sebastian Frye, and Rebecca Travis
Full version Features: Susy Oliveira, Duncan Alexander Cameron Stewart, Kristen D Schaffer, Benjamin Edelberg, Catherine Sands Phillips, Lili Huston-Herterich, Sebastian Frye, and Rebecca Travis

9 (of 25)

an ano (Poems I Tried to Write You)
ink on found 1970’s book page
7 x 6.5 inches

Poems I Tried to Write You, typewritten poems, 2013

Eight personal poems typed using a broken 1970's electric typewriter. Varying sizes, typewriter ink on found paper.

To see the rest from this series please visit http://www.sarahsandsphillips.com/Eye-Rhymes

10 (of 25)

Untitled (Bleached Film)
Duration: 00:23:09, Segment Length: 00:02:31
Film Type: Super 8 mm on digital video
Scanned by Frame Discreet

This video was made using found super 8 mm film, it was treated with bleach by taping and painting off sections of the film. The film was then digitized and slowed down to draw attention to the resulting flame-like painterly abstraction of each frame.

11 (of 25)

Sun-bleached collage, rubber on wood panel (diptych)
12 x 9 inches (each)

12 (of 25)

acrylic paint
2 x 15 x 10 inches

13 (of 25)

Under Sun, 2015
Film Type: 8mm on digital video
Duration: 00:06:01

Under Sun was made by splicing together light leaks from assorted reels of found 8mm footage. The light that was captured is from anywhere between 1935-1965. It has been slowed down to better highlight the unique painterly abstraction of every frame, while frayed edges, hair, and dust draw attention to the film as material.

14 (of 25)

Light Paintings  (Installation View)
Series of 5, found sun –bleached cotton curtains
Five Light Paintings in total: three are 84 x 52 x 2 inches, two are 80 x 47 x 2 inches

“Through its light alone, the house becomes human” – Gaston Bachelard

Light Paintings are a series of five found sun-bleached cotton curtains that I discovered in a previous studio. Essentially they are cyanotypes, left hanging in an abandoned room long enough for the sun to bleach their draped shape into the fabric. As a form of entry into the home, the nature of a window, the light that comes through it, and the fabric we drape around it, lends those images and materials well to themes of history, nostalgia and the ephemeral. The importance of the window, real and symbolic, is undeniable and inextricable from the walls that make up the rooms of our lives. Light Paintingsare each a site of absence; they are solitudes that carry within them a mysterious unknown length of time and lost history.

15 (of 25)

Found bathroom linoleum tile and flocking on wood panel (triptych)
14 x 11 inches (each)

16 (of 25)

Haint Blue (Installation)
Part of Ghost Story, curated by Blair Swann
Acrylic, plaster, mixed media on gallery wall
12 x 49.5 feet

In her installation Haint Blue (2016), Sarah Sands Phillips invokes the ghost story in its “dependence on physical place”8 adopting the blue colour thought to have the ability to ward-off spirits or “haints”9 in the southern United States. She painted in the gallery one of these painted southern walls, weathered and abandoned by time, in a re-interpretation of the haunted house. To French philosopher Gaston Bachelard, the house is an “airy structure that moves about on the breath of time,”10 a place which is the “localization of our memories.”11 Sands Phillips invokes hauntings as “what happens when a place is stained by time”12 with an installation that explores the convergence of place and time in memory – and how it is the past that haunts the house. However, this is not the actual past, but a representation of it, mimetically built for us in the present. The walls drip with rot and age, the paint textured like wrinkles forgets lifetimes, with layers breaking open to expose distant voices, faded by calendars of morning light. But this is just a story told by Sands Phillips – a “past” rooted in the physicality of the house, where the artist stages an “encounter with broken time.”13 -- Excerpt of exhibition text written by curator Blair Swann. To see the rest of the images and text please visit http://www.sarahsandsphillips.com/Ghost-Story

8 Frederic Jameson, “Historicism in The Shining”, 1981, visual-memory.- co.uk/amk/doc/0098
9 Geordie Buxton, Ed Macy, Haunted Charleston: Stories from the College of Charleston, The Citadel and the Holy City, (Moun Pleasant: Arcadia Publishing, 2005), 84.
10 Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1969), 54
11 Bachelard, 1969, 8

17 (of 25)

Hand (No. 1)
Plaster and sand
2.5 x 8 x 12 inches

18 (of 25)

Endings No. 1 (Sail), 2015
Film Type: 8mm on digital video
Duration: 00:03:24 (00:27:18, looped)

Endings No. 1 (Sail) was made by splicing together the perforated ends of found 8mm footage. This film format was manufactured with punctured tails, usually discarded in the splicing process. These textured anachronistic moments explore film’s materiality, and were collaged together in an attempt to question "the end" in film, and to honour closing seconds of dismissed time.

19 (of 25)

Favourite Flowers in Colour (Mermaid)
Found flawed image plate (unique)
4.5 x 4.5 inches

One image from a series of thirteen flawed book pages retrived from a book called Favorite Flowers in Color (1949).

20 (of 25)

Composition (no. 6)
8 x 7 inches

Compositions features collages that were created using salvaged matboards that belonged to my father.

Series of 13, composed of matboard on wood, varying sizes.

To see more from this series please visit http://www.sarahsandsphillips.com/compositions

21 (of 25)

Photographic memory (No. 1)
Found scrapbook page, adhesive residue on manila paper
12 x 9 inches

A series of found scrapbook pages which carry the marks and memory of adhesive residues. 30 pages in total, each double-sided. To be displayed in double-sided glass, shutter style picture frames.

22 (of 25)

Linen fabric and spray paint on pvc film
43 x 18 inches

23 (of 25)

Sugar Painting No. 3

acrylic paint, fabric dye and sugar on paper
6 x 4 inches

My sugar paintings were inspired by a series of sculptures I created by filling hollows of sand with plaster. Spontaneous forms emerged from the sand and I realized that my paintings could contribute to their own existence in a similar way. Sugar being an analogous substance to sand, I modified the process to facilitate the encasing of my paintings in homegrown sugar crystals. These works are connected to memories I have of growing up in Canada; I am reminded of summers spent walking shimmering Ontario beaches, and winters gazing through crystal-encrusted windows. The time sensitive process involved builds a sense of history in the paintings as objects, and speaks to conditions of the body; it’s motions, gestures, and residues, and the tenuous verisimilitudes of memory.

24 (of 25)

Untitled No. 25 (Photographs of Canada)
Manipulated found photographic print on paper (unique)
15 x 12 inches (unframed)

Photographs of Canada (2014 – present) is an ongoing series created from books documenting the Canadian landscape. Chosen based on their compositional structure and existing forms, the images are gently erased into abstraction. Their fragility and semi-translucent nature lends them well to themes of history, nostalgia and the ephemeral. In many ways the physical process involved addresses the shifting and fading quality of memory, as well as its connection to the body.

25 (of 25)

Untitled No. 11 (Photographs of Canada)
Manipulated found photographic print on paper (unique)
15 x 12 inches (unframed)