Curtain (Provenance) oil on canvas 8 x 6 inches 2016
Provenance Series (2016 - Present)
The paintings included in this application (no. 1 - 5) 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 15)
Green (Provenance) oil on linen 12 x 9 inches 2016
3 (of 15)
Provenance (no. 2) oil on linen 14 x 11 inches 2016
4 (of 15)
Provenance (no. 1) oil on linen 14 x 11 inches 2016
5 (of 15)
Untitled (Provenance) oil on canvas 8 x 6 inches 2016
06 (of 15)
Poems I Tried to Write You, HD video, 2015 Duration: 00:56:41 Segment: 00:01:54 Film Type: HD video 2015
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
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
07 (of 15)
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.
Untitled (Bleached Film)
Duration: 00:23:09, Segment Length: 00:02:31 Film Type: Super 8 mm on digital video 2015 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.
09 (of 15)
Sun-bleached collage, rubber on wood panel (diptych)
12 x 9 inches (each)
10 (of 15)
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 (c., 1935-1965).
The fragments were spliced together,
digitized, and slowed down to better highlighting the unique painterly
abstraction of every frame while frayed edges, hair, and dust, draw attention
to the film as material.
11 (of 15)
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
light alone, the house becomes human” – Gaston Bachelard
Paintings are a series
of five found sun-bleached cotton curtains that I discovered in a previous
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.
12 (of 15)
Found bathroom linoleum tile and flocking on wood panel (triptych) 14 x 11 inches (each)
13 (of 15)
Cone/Undone Linen fabric and spray paint on pvc film 43 x 18 inches 2015
14 (of 15) Sugar Painting No. 3 acrylic paint, fabric dye and sugar on paper 6 x 4 inches 2017
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.
15 (of 15)
Untitled No. 25 (Photographs of
Canada) Manipulated found photographic print on paper (unique) 15 x 12 inches (unframed) 2015
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.
“... images as an unfixed entity – between light and dark, abstract and representational, constructed and incidental. Painterly and photographic processes of abstraction, erasure and physical manipulation reveal alternative ways for imagery to surface over time, encouraging a prolonged act of looking and contemplation of duration.” -Rebecca Travic describing this work in Soon Comes Night