https://sarahsandsphillips.com SARAH SANDS PHILLIPS Sat, 03 Feb 2024 15:20:19 +0000 https://sarahsandsphillips.com en https://sarahsandsphillips.com/CV Sat, 30 Apr 2022 09:52:18 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/CV Sarah Sands Phillips (b.Tsí Tkaròn:to, Canada) is a Red River Métis/British-Irish artist and poet. Her family names include Johnston, Richards, Moore, Truthwaite, Brown and Thomas. She completed an MFA at the Ruskin School of Art at the University of Oxford in 2019. Her practice spans painting, photography, moving image, sculpture, and text. Fragmentary, bodily, and exploring themes of impermanence, her work is grounded in materiality, and engaged in process-oriented investigations of intuitive sites of presence and absence, intention and the skin. Sands Phillips has exhibited in Canada and internationally at the North Wall Arts Centre, UK, General Hardware Contemporary, CA, Angell Gallery, CA, Birch Contemporary, Gallery 44: Centre for Contemporary Photography, CA, and MULHERIN New York, NY. She is the recipient of a fully-funded Tsuzuki Scholarship, the Erna Plachte Scholarship, and awards from the Toronto Arts Council, Ontario Arts Council, and the Canada Council for the Arts. Her work is in the collection of TD Canada Trust and RBC Collection. She is currently based in Tokyo, Japan. www.sarahsandsphillips.com Email Instagram︎YouTube︎ White Columns︎ CV&nbsp; STATEMENT OF WORKSarah Sands Phillips is engaged in a multi-disciplinary process-oriented exploration of impermanence. Spanning painting, drawing, photography, sculpture, moving image, and text, she is interested in material knowledge, fragmentation, and the regeneration of objects.&nbsp; By exploring intuitive sites of presence and absence, she finds ways of documenting the dissolving and translucent space between identity, intention, and the skin. Influenced by new materialisms, Sands Phillips’ practice looks for the connections between, and seeks to level anthropocentric hierarchies by allowing work to both make itself, and also leave room for common materials and detritus –grapefruit peels, edamame skins, poetry edits, plastic carry bags– to be elevated. Her work sometimes consists of found objects in weathered states which contain the residues of human presence. The temporality of some materials parallels her interest in the body. The often labour intensive nature of her practice lends itself to conversations around connection and touch. Through everyday observations, her practice is ultimately poetic in its dissolution. Utilising cyclical processes of layering and erasure results in a ritual undoing and reimagining of objects and surfaces.&nbsp; In many ways her work acts as a document, tracing languages of time, intimacy, and loss. Her research forms ways of understanding her Indigenous identity, and how information and experiences are embedded within matter. <img width="1000" height="80" width_o="1000" height_o="80" data-src="https://freight.cargo.site/t/original/i/28e5181e24619cf65cde2fdd83ea237e9648ae091934fb73897cff3389e71132/arts-councils-logos_edit.jpg" data-mid="141291447" border="0" src="https://freight.cargo.site/w/1000/i/28e5181e24619cf65cde2fdd83ea237e9648ae091934fb73897cff3389e71132/arts-councils-logos_edit.jpg" /> https://sarahsandsphillips.com/Latitudes Sat, 30 Apr 2022 09:52:17 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Latitudes LatitudesRuskin School of Art MFA Degree ShowUniversity of Oxford2019 <img width="5788" height="3862" width_o="5788" height_o="3862" data-src="https://freight.cargo.site/t/original/i/00ffb25a86ab543098cf6ea98345ee3f6f6236b44ff309d48fd0134dcc05541d/1.-Installation-view--Latitudes--MFA-Degree-Show--Ruskin-School-of-Art--201-9.jpg" data-mid="141246064" border="0" src="https://freight.cargo.site/w/1000/i/00ffb25a86ab543098cf6ea98345ee3f6f6236b44ff309d48fd0134dcc05541d/1.-Installation-view--Latitudes--MFA-Degree-Show--Ruskin-School-of-Art--201-9.jpg" /> LATITUDES00:08:23HD Single Channel Video, Silent&nbsp;2019 Latitudes is an installation, video work, and text of the same name. The installation was composed of wall-to-wall plaster wave-form tiles. The tiles were designed to break under the weight of bodies walking across them to view the video embedded into the far wall. The video contains a single durational scene of overlapping waves. A white sailboat crosses Lake Huron. Narrative and diaristic fragments appear on the horizon, as the mind is seen pulled in and out of an undertow of past and present memories. Latitudes refers to the horse latitudes, a region 30° N and 30° S of the equator, where the crews of becalmed ships threw horses overboard to conserve water. Ideas around consuming and being consumed —by the lake, by love, by a person—are remembered, as lovers become waves, plaster, horses, dead weight, fruit, and everything is subsumed. <img width="1111" height="768" width_o="1111" height_o="768" data-src="https://freight.cargo.site/t/original/i/891a172e5ffeb13bec85b427f3150fddfe58853820c4bbdb8860371d8742c0f6/2.-Installation-view--MFA-Degree-Show--Ruskin-School-ofArt--201-9_edit-768.jpg" data-mid="141414280" border="0" src="https://freight.cargo.site/w/1000/i/891a172e5ffeb13bec85b427f3150fddfe58853820c4bbdb8860371d8742c0f6/2.-Installation-view--MFA-Degree-Show--Ruskin-School-ofArt--201-9_edit-768.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="2560" height="1417" width_o="2560" height_o="1417" data-src="https://freight.cargo.site/t/original/i/0e5063388e6f65d6fa59b34fba20769ce794f81e304ee03b00a4f8e0fe898433/latitudes-Screen-Shot-c.jpg" data-mid="179321585" border="0" src="https://freight.cargo.site/w/1000/i/0e5063388e6f65d6fa59b34fba20769ce794f81e304ee03b00a4f8e0fe898433/latitudes-Screen-Shot-c.jpg" /> <img width="2063" height="1600" width_o="2063" height_o="1600" data-src="https://freight.cargo.site/t/original/i/3224d1ae9194dba0c016a4ac81e22deef5964cfd478dcf4863d2aeffbe760d1c/The-heat-from-my-body_jpeg.jpg" data-mid="141246537" border="0" src="https://freight.cargo.site/w/1000/i/3224d1ae9194dba0c016a4ac81e22deef5964cfd478dcf4863d2aeffbe760d1c/The-heat-from-my-body_jpeg.jpg" /> <img width="1068" height="713" width_o="1068" height_o="713" data-src="https://freight.cargo.site/t/original/i/0e80fbaebb201d2bb204fa82b62d67d5fbb9870d8102f2a22134c100ec40eb84/_56B2074_edit_1068_edit.jpg" data-mid="141246302" border="0" src="https://freight.cargo.site/w/1000/i/0e80fbaebb201d2bb204fa82b62d67d5fbb9870d8102f2a22134c100ec40eb84/_56B2074_edit_1068_edit.jpg" /> <img width="618" height="415" width_o="618" height_o="415" data-src="https://freight.cargo.site/t/original/i/c6eceac340b2fb0642ba1037601af47a0864ba7d7f8247b7e1e46cf8720db931/broken-tile_crop.jpg" data-mid="141486217" border="0" src="https://freight.cargo.site/w/618/i/c6eceac340b2fb0642ba1037601af47a0864ba7d7f8247b7e1e46cf8720db931/broken-tile_crop.jpg" /> <img width="1024" height="686" width_o="1024" height_o="686" data-src="https://freight.cargo.site/t/original/i/27383d1bfb24011c02d1e355aa5c9379af5da70923682fac69691bc7a92f0950/Latitudes-Installation_Ben-2019.jpg" data-mid="147742066" border="0" src="https://freight.cargo.site/w/1000/i/27383d1bfb24011c02d1e355aa5c9379af5da70923682fac69691bc7a92f0950/Latitudes-Installation_Ben-2019.jpg" /> https://sarahsandsphillips.com/Diffracting-Matters Sun, 01 May 2022 01:41:05 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Diffracting-Matters <img width="1155" height="768" width_o="1155" height_o="768" data-src="https://freight.cargo.site/t/original/i/335390db9f2c837e1a7ea180e07976fd8d6fb363fc433b091772fce954047156/_DSC0475_edit2_1068.jpg" data-mid="141286103" border="0" src="https://freight.cargo.site/w/1000/i/335390db9f2c837e1a7ea180e07976fd8d6fb363fc433b091772fce954047156/_DSC0475_edit2_1068.jpg" /> Joshua Deru and Sarah Sands Phillips Possible Futures, 2019 Possible Futures appeared as part of the exhibition Diffracting Matters, produced by members of environmental organization the Flute &amp; the Bowl, and the Oxford Society of Art and Ecology. “It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thought think thoughts, what ties tie ties. It matters what stories make worlds, what worlds make stories.” —Donna Haraway Diffracting is a useful metaphor that allows us to consider difference outside the ordinary paradigm of binary opposition, and to explore the potential of differentially creating new patterns of thought. Diffraction also lends a novel semantic to scientific knowledge, in line with developments in quantum field theory: instead of a static science reflecting an objective world or a disinterested measurement, we move into a space of embedded involvement with the world we seek to understand. In this world, we cannot remain impartial observers – our very observation entangles us within its unravelling. —Anya Gleizer Possible Futures Joshua Deru and Sarah Sands Phillips are each preoccupied with light and material.&nbsp;Deru in his practice as a material scientist, is studying the effect of light, charge, and heat on&nbsp;developing solar panel technologies. Sands Phillips is a visual artist, whose work often engages&nbsp;materials that have been weathered by their impact with time, and imbued with unspoken&nbsp;histories. In what could be considered a crisis of our time, artists and scientist are coming&nbsp;together to form new ways of thinking, patterning together the linkages and commonalities that&nbsp;may allow us to move forward in our understanding and sense of agency with regard to climate&nbsp;change. For Deru and Sands Phillips, their collaboration and discussion, while engaging the&nbsp;details and techniques of each of their respective disciplines, they found common ground in the poetic. The residues of their labs and studios, are the subject of their exploration as together they&nbsp;searched for hidden clues and debris that would provide insight into the world and their&nbsp;practices.&nbsp; In the development of solar panels, sample materials are charged with light, and the&nbsp;interference of that light against the film helps researchers like Deru, map and record progress.&nbsp;Using photography and scanning technologies allowed each to catch various forms of light&nbsp;interference. In her curious handling of a collection of Deru’s lab materials, Sands Phillips&nbsp;recognized this interference occurring in her documentation and exploration of petri dishes and&nbsp;panel samples, leaving their history in the fibres of the photographs. These images allowed Deru and Sands Phillips to further investigate the material&nbsp;structure, composition, and organization of solar panel utilization, and how the nature of their&nbsp;collaboration has been a catalyst for a poetic pondering of possible futures. <img width="572" height="768" width_o="572" height_o="768" data-src="https://freight.cargo.site/t/original/i/1de2606f17d4c67cdd6cb33d0d3f7ca0f2818d28d998af491d657fca65bb68a5/Possible-Futures-030_Deru_Sands-Phillips_2019_edit_768.jpg" data-mid="141286963" border="0" src="https://freight.cargo.site/w/572/i/1de2606f17d4c67cdd6cb33d0d3f7ca0f2818d28d998af491d657fca65bb68a5/Possible-Futures-030_Deru_Sands-Phillips_2019_edit_768.jpg" /> <img width="569" height="768" width_o="569" height_o="768" data-src="https://freight.cargo.site/t/original/i/67af6cfdfea1d37a89845d38206e5d20aaaea60b242054bffd5700e941e80156/Possible-Futures-023_Deru_Sands-Phillips_2019a_edit_768.jpg" data-mid="141286964" border="0" src="https://freight.cargo.site/w/569/i/67af6cfdfea1d37a89845d38206e5d20aaaea60b242054bffd5700e941e80156/Possible-Futures-023_Deru_Sands-Phillips_2019a_edit_768.jpg" /> https://sarahsandsphillips.com/Idyll Sat, 30 Apr 2022 23:07:11 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Idyll IdyllJune 14 - July 15, 2018A solo exhibition at General Hardware Contemporary 1520 Queen Street West Toronto, ON Canada M6R 1A4Exhibition essay by Rebecca Travis Documentation by Laura Findlay and Toni Hafkenscheid <img width="1323" height="1738" width_o="1323" height_o="1738" data-src="https://freight.cargo.site/t/original/i/8dc27341a89f880dd1819379dbc0906e9583a94ac79fadfb68535281142d2ca5/Sands-Phillips--Sarah_oil-on-canvas_10-x-8-inches_2018_Idyll-no.-13_72dpi.jpg" data-mid="141287468" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/8dc27341a89f880dd1819379dbc0906e9583a94ac79fadfb68535281142d2ca5/Sands-Phillips--Sarah_oil-on-canvas_10-x-8-inches_2018_Idyll-no.-13_72dpi.jpg" /> The Wall is a Body.“Natural materials express their age and history, as well as the story of their origin&nbsp;and their history of human use. All matter exists in the continuum of time; the patin&nbsp;of wear adds the enriching experience of time to the materials of construction.” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;–&nbsp;Juhani Pallasmaa&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In 2013, Sarah Sands Phillips returned to the family home where she had grown up&nbsp;and took a number of photographs of light entering spaces. Beams licking corners&nbsp;throwing shadows, flickering across thresholds and highlighting bowed walls. Th&nbsp;resulting images are not a recording of space in the traditional sense; rather the&nbsp;capture fleeting moments of luminescent abstraction, glimmers of present action in&nbsp;rooms connected to past memories. The photographs, as with much of the work in&nbsp;Sands Phillips multi-faceted practice, became subtle documents and expressions of&nbsp;time. For the exhibition Idyll Sands Phillips returns to these photographs as a source&nbsp;material for paintings. Rather than focusing on their ethereal light forms, the Idyll&nbsp;paintings respond to a material element evident in the imagery – the physical makeup&nbsp;of the building’s aging interior walls.The walls in question were constructed using lath and plaster, a technique seen&nbsp;predominantly in pre-war homes, in which plaster is layered over a structural framework&nbsp;of closely fitted, lateral wooden slats. As the plaster is squeezed through the negative&nbsp;space between the slats, it forms overhanging ‘keys’ on the structure’s reverse that&nbsp;allow it to cling to its wooden armature. Lath and plaster has long been discontinued to&nbsp;make way for more efficient construction methods, and as such, is a technique set in time.Sands Phillips employs a similar process of material layering to create the surface&nbsp;present throughout Idyll. Strata of oil paint are built up on stretched linen and canvas&nbsp;supports, with its gently smoothed application akin to that of a lath and plaster wall.&nbsp;Her chosen colour palette recalls a light and shadow spectrum, but is also&nbsp;reminiscent of the body – grey matter and peachy flesh tones, vein-like blue. Into&nbsp;these carefully prepared surfaces, Sands Phillips carves linear suggestions of room&nbsp;that reveal subtle colourations from underlying layers, continuing a process of mark&nbsp;making through erasure present throughout her practice. The resulting minimal&nbsp;compositions appear as spaces etched at the peripheries of memory, perhaps&nbsp;something dreamt. They are non-places without a sense of time, a setting with the&nbsp;potential for future action to occur, whilst also seeming as though somewhere&nbsp;remembered from long ago.In his book Eyes of the Skin, Architecture and the Senses, the Finnish architec&nbsp;Juhani Pallasmaa (Eyes of the Skin, Architecture and the Senses, Materiality and&nbsp;Time, P.3) makes a case for the physical and sensory pull of organic building&nbsp;materials, as opposed to the cold plasticity of manmade constructions. The&nbsp;simultaneous attraction and fallibility of these natural materials is that they visibly&nbsp;age and change, and in this they relate to the body. The walls in Sands Phillips’original photographs had billowed and bulged, bloated over time. The lath and&nbsp;plaster process is laborious and physical, corporeally composed of a skeletal frame&nbsp;and soft, porous materials. Look up the etymology of ‘idyll’ and you will find that it&nbsp;originates from the Greek for ‘form’ or ‘shape’. In definition, it denotes a picturesque&nbsp;scene, but one – like our bodies, memories, and those walls – that is ultimately&nbsp;temporary.Rebecca Travis <img width="2696" height="1797" width_o="2696" height_o="1797" data-src="https://freight.cargo.site/t/original/i/90ccb5e85675d028aa9650c1ab7c88b2e6d5e39f3ebbb1544d693459280991b1/MG_6056_72dpi.jpg" data-mid="141278351" border="0" src="https://freight.cargo.site/w/1000/i/90ccb5e85675d028aa9650c1ab7c88b2e6d5e39f3ebbb1544d693459280991b1/MG_6056_72dpi.jpg" /> <img width="1375" height="1740" width_o="1375" height_o="1740" data-src="https://freight.cargo.site/t/original/i/a90f31d2094506cba9cbe9adcd5a3c2844d93f437db70e34a6485575696c3582/Sands-Phillips--Sarah_oil-on-linen_12-x-9-inches_2018_Idyll-no.-14_72dpi.jpg" data-mid="141287472" border="0" src="https://freight.cargo.site/w/1000/i/a90f31d2094506cba9cbe9adcd5a3c2844d93f437db70e34a6485575696c3582/Sands-Phillips--Sarah_oil-on-linen_12-x-9-inches_2018_Idyll-no.-14_72dpi.jpg" /> <img 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data-src="https://freight.cargo.site/t/original/i/b3bbfd49ec61cc130a9294f1fc555186feb3e0d353f3f913f15d61f752398222/Sands-Phillips--Sarah_oil-on-linen_12-x-9-inches_2018_Idyll-no.-15_72dpi.jpg" data-mid="141287478" border="0" src="https://freight.cargo.site/w/1000/i/b3bbfd49ec61cc130a9294f1fc555186feb3e0d353f3f913f15d61f752398222/Sands-Phillips--Sarah_oil-on-linen_12-x-9-inches_2018_Idyll-no.-15_72dpi.jpg" /> <img width="1315" height="1710" width_o="1315" height_o="1710" data-src="https://freight.cargo.site/t/original/i/43a74985494c6ecf61e8979d78a6d937590a94ad19b72417315f03bb962835aa/Sands-Phillips--Sarah_oil-on-linen_12-x-9-inches_2018_Idyll-no.-12_72dpi.jpg" data-mid="141287479" border="0" src="https://freight.cargo.site/w/1000/i/43a74985494c6ecf61e8979d78a6d937590a94ad19b72417315f03bb962835aa/Sands-Phillips--Sarah_oil-on-linen_12-x-9-inches_2018_Idyll-no.-12_72dpi.jpg" /> <img width="1619" height="1257" width_o="1619" height_o="1257" data-src="https://freight.cargo.site/t/original/i/75cd5dffe7cc958b86114d7b41f0da551d9531116fc5674d965d3b29725742b3/Sands-Phillips--Sarah_oil-on-linen_8-x-10-inches_2018_Idyll-no.-1672dpi.jpg" data-mid="141287470" border="0" src="https://freight.cargo.site/w/1000/i/75cd5dffe7cc958b86114d7b41f0da551d9531116fc5674d965d3b29725742b3/Sands-Phillips--Sarah_oil-on-linen_8-x-10-inches_2018_Idyll-no.-1672dpi.jpg" /><img width="1480" height="1181" width_o="1480" height_o="1181" data-src="https://freight.cargo.site/t/original/i/36bdd0cc0ffc6ffab2c49897a8cac2e6cb64da20bef3ea47e3225de9636d46c1/Sands-Phillips--Sarah_oil-on-linen_8-x-10-inches_2018_Idyll-no.-17_72dpi.jpg" data-mid="141287471" border="0" src="https://freight.cargo.site/w/1000/i/36bdd0cc0ffc6ffab2c49897a8cac2e6cb64da20bef3ea47e3225de9636d46c1/Sands-Phillips--Sarah_oil-on-linen_8-x-10-inches_2018_Idyll-no.-17_72dpi.jpg" /><img width="1154" height="768" width_o="1154" height_o="768" data-src="https://freight.cargo.site/t/original/i/9be5af0d29f232a2f53da7a23664a80c66ef6016141274c35123c1224f154f5b/Sands-Phillips--Sarah_oil-on-linen_10-x-8-inches_2018_Idyll-no.-1-and-2-diptych_edit_768.jpg" data-mid="141287480" border="0" src="https://freight.cargo.site/w/1000/i/9be5af0d29f232a2f53da7a23664a80c66ef6016141274c35123c1224f154f5b/Sands-Phillips--Sarah_oil-on-linen_10-x-8-inches_2018_Idyll-no.-1-and-2-diptych_edit_768.jpg" /> https://sarahsandsphillips.com/Under-Sun Wed, 13 Jul 2022 07:06:42 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Under-Sun <img width="999" height="632" width_o="999" height_o="632" data-src="https://freight.cargo.site/t/original/i/6e83ef1cdda430549dc3a4b152b78ce3fcf1c9246a26029cd1292c953287ef75/5.-f-Sarah-Sands-Phillips-Under-Sun-2015-8mm-film-transferred-to-digital-dimensions-variable-1.jpg" data-mid="147750161" border="0" src="https://freight.cargo.site/w/999/i/6e83ef1cdda430549dc3a4b152b78ce3fcf1c9246a26029cd1292c953287ef75/5.-f-Sarah-Sands-Phillips-Under-Sun-2015-8mm-film-transferred-to-digital-dimensions-variable-1.jpg" /> UNDER SUN00:06:01 Single Channel&nbsp;8mm on digital video&nbsp;2015&nbsp; 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. Made with the support of the Ontario Arts Council. Under Sun has been included in group exhibitions Let There Be Light (Angell Gallery, 2018), and Soon&nbsp;Comes Night (Birch Contemporary, 2017). For past exhibitions please see below. Let There Be LightAngell Gallery1444 Dupont St #15 Toronto, ON Canada M6P 4H3 May 11 - June 16, 2018Curated by Bill ClarkeArtists: Isabel M. Martinez, Liz Nielsen, Katarina Riopel, Tim Roda, Alison Rossiter, Sarah Sands Phillips, Jim Verbur <img width="4254" height="2836" width_o="4254" height_o="2836" data-src="https://freight.cargo.site/t/original/i/f3caa4d2e33731af9e211f353e2524950b92ea1297b02485a61becd9e6e1f63c/Let-There-Be-Light---Install-6c.jpg" data-mid="147751172" border="0" src="https://freight.cargo.site/w/1000/i/f3caa4d2e33731af9e211f353e2524950b92ea1297b02485a61becd9e6e1f63c/Let-There-Be-Light---Install-6c.jpg" /> ANGELL GALLERY is pleased to present Let There Be Light, a group exhibition curated by associate director Bill Clarke, which features work by seven Toronto and New York-based artists who produce photo imagery using in-camera and darkroom processes. A Scotiabank CONTACT Photography Festival Featured Exhibition, the show runs from May 11&nbsp;to&nbsp;June 16, 2018&nbsp;with an opening reception and artist talk on&nbsp;Friday, May 11&nbsp;at&nbsp;7:00 p.m. I have seized the light – I have arrested its flight! – Louis DaguerreEver since French artist Louis Daguerre’s experiments in the darkroom in the 1820s, and his compatriots Étienne-Jules Marey and Georges Demeny’s techniques of capturing human movement 60 years later, scientists, inventors and photographers have searched for methods of creating images that employ light as something other than a tool to illuminate an object or a person situated before a camera. By the 1930s, Man Ray’s adaptation of the photogram (into what he termed ‘rayographs’) had removed the camera’s shutter from the picture-making process altogether.Writing in On Photography in 1977, Susan Sontag relegates Ray’s photograms, as well as work by László Moholy-Nagy, Alexander Rodchenko and John Heartfield, to the level of “marginal exploits in the history of photography”. However, forty years later, and despite the advent of digital technologies, many artists continue to produce images using analogue processes that capture the spirit of these innovations in their handling of light as a material, and the camera and darkroom as tools and sites of experimentation.Tim Roda and Jim Verburg sensitively employ ‘outmoded’ equipment, such as photocopiers and pin-hole cameras, in their work. The delicate regulation of light by&nbsp;Isabel M. Martinez&nbsp;within the camera and the careful exposure of vintage photo papers by&nbsp;Alison Rossiter&nbsp;in the darkroom result in floating dream-like abstract forms. Fleeting light effects migrate between the digital and analogue realms in&nbsp;Sarah Sands Phillips'&nbsp;and&nbsp;Katarina Riopel's works, while&nbsp;Liz Nielsen’s arrangements of layered and coloured transparencies produce vibrant and playful images. Each artist, in their own way, beautifully demonstrates that the poetic potential of light remains an enduring area of artistic inspiration and experimentation.– Bill Clarke Soon Comes NightBirch Contemporary29 Tecumseth St, Toronto, ON M6J 2H2birchcontemporary.comJuly 27 - August 26, 2017Curated by Rebecca Travis with accompanying textFeaturing artists: Steven Beckley, Martin Bennett, Sarah Sands Phillips Review by David Saric hereDocumentation by Rebecca Travis <img width="1667" height="1241" width_o="1667" height_o="1241" data-src="https://freight.cargo.site/t/original/i/c6eef3ec57ebc5e7d4e4f3075498d84fcb33634a19c64d59562234a2bc750804/f-20170728_115008_edit.jpg" data-mid="147750855" border="0" src="https://freight.cargo.site/w/1000/i/c6eef3ec57ebc5e7d4e4f3075498d84fcb33634a19c64d59562234a2bc750804/f-20170728_115008_edit.jpg" /> Under SunInstallation view Soon Comes Night explores 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&nbsp;surface over time, encouraging a prolonged act of looking and&nbsp;contemplation&nbsp;of duration. The title of the exhibition is inspired by a common engraving on sundials - in Latin ‘Mox Nox’ or ‘Soon Night’ - which reflects the work’s sense of time, and its hinging between definitive states.Martin Bennett’s Timed Expansepaintings emerged through a process of dismantling his pictorial Static Image works, focusing on the interplay between positive and negative space, and areas of abstraction and image. The source material for the Static Image paintings are photographs taken during lengthy walks at sites in the UK, Italy and Canada, which are then put through various processes of disintegration – Xeroxing, re-photographing, slide-projection - before the painting process begins. The Timed Expanse series’ vicarious link to photography (as a painterly decoding of these Static Image works) is upheld with each work’s uniform white border, which echoes that of a traditional photograph print. Studying the Timed Expanse paintings, forms begin to emerge but are not prescriptive of a certain subject matter; rather the ‘imagery’ is caught mid-development, much like an exposing photograph in a darkroom. A unifying element throughout Bennett’s practice is the finishing process of sanding the painted surface, pulling certain areas of application to the fore, while receding others. Sanding is also key to Sarah Sands Phillips’ ongoing series Photographs of Canada, in which she selects photographs from books documenting Canadian landscapes and gently rubs away the image until only an echo of its skeletal structure is left behind. As the primary image is eroded, an alternative, underlying one is revealed, suggesting the long-term instability of landscape, memory and the photographic surface. The film Under Sun is also created from found material, in this case a splicing together of light leaks from assorted reels of 8mm footage, captured between 1935 and 1965. Along with trapped dust, hairs and blemishes on the film, Under Sun’s spectral colour palette becomes a compositional element of painterly abstraction within each frame, pulling imagery from perceived blankness.An intimate gaze is key to Steven Beckly’s varied practice. Here, three photographs (two of which were taken during his recent residency at the Doris McCarthy Artist-in-Residence Centre) are presented on translucent film, which hangs, bows and curls from the architectural fabric of the gallery space. The work’s sculptural presentation invites a connection with the body and allows for the imagery to reveal itself from a variety of perspectives, while its organic subject matter – hazy dusk, a horizon line – is ripe with potential for otherworldly transition. // Rebecca Travis <img width="2000" height="1151" width_o="2000" height_o="1151" data-src="https://freight.cargo.site/t/original/i/9d8c81688fe5f58d4c000e44ea5563e19e9c092eaf7a426399efc5de995726a3/20170728_114932.jpg" data-mid="147750854" border="0" src="https://freight.cargo.site/w/1000/i/9d8c81688fe5f58d4c000e44ea5563e19e9c092eaf7a426399efc5de995726a3/20170728_114932.jpg" /> https://sarahsandsphillips.com/Untitled-Photographs-of-Canada Sun, 01 May 2022 01:12:49 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Untitled-Photographs-of-Canada <img width="785" height="925" width_o="785" height_o="925" data-src="https://freight.cargo.site/t/original/i/ec9282144a2a22238e2fe11691ee53a19444e3557e3dca379f6eac32a1358850/photographs-of-canada_785.jpg" data-mid="141910063" border="0" src="https://freight.cargo.site/w/785/i/ec9282144a2a22238e2fe11691ee53a19444e3557e3dca379f6eac32a1358850/photographs-of-canada_785.jpg" /> <img width="613" height="768" width_o="613" height_o="768" data-src="https://freight.cargo.site/t/original/i/db93a29df01eb23431d31c94053b7fa37d103159eecfba73d89eaf6b90fba6ca/sands-phillips_untitled-no.40_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910154" border="0" src="https://freight.cargo.site/w/613/i/db93a29df01eb23431d31c94053b7fa37d103159eecfba73d89eaf6b90fba6ca/sands-phillips_untitled-no.40_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="669" height="768" width_o="669" height_o="768" data-src="https://freight.cargo.site/t/original/i/831e0f889b9ea9087db8d01d69025f9d92834716e7054b4c0aa179cda3555342/sands-phillips_untitled-no.38_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910150" border="0" src="https://freight.cargo.site/w/669/i/831e0f889b9ea9087db8d01d69025f9d92834716e7054b4c0aa179cda3555342/sands-phillips_untitled-no.38_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="607" height="768" width_o="607" height_o="768" data-src="https://freight.cargo.site/t/original/i/c38d724805b784c8977a6cc8189d95678386fa7e52ad078dc6293e4f9f74c431/sands-phillips_untitled-no.41_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910155" border="0" src="https://freight.cargo.site/w/607/i/c38d724805b784c8977a6cc8189d95678386fa7e52ad078dc6293e4f9f74c431/sands-phillips_untitled-no.41_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="615" height="768" width_o="615" height_o="768" data-src="https://freight.cargo.site/t/original/i/c6d0504c5869678fb4c83b285fb287df681741a0f3ed65ac0505468caaa693f4/sands-phillips_untitled-no.44-_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910158" border="0" src="https://freight.cargo.site/w/615/i/c6d0504c5869678fb4c83b285fb287df681741a0f3ed65ac0505468caaa693f4/sands-phillips_untitled-no.44-_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="605" height="768" width_o="605" height_o="768" data-src="https://freight.cargo.site/t/original/i/a7a3750b9e0b91cfa047e190ad1950035a68a913f3ac617ccce08b1e71a41132/sands-phillips_untitled-no.45-_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910159" border="0" src="https://freight.cargo.site/w/605/i/a7a3750b9e0b91cfa047e190ad1950035a68a913f3ac617ccce08b1e71a41132/sands-phillips_untitled-no.45-_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="611" height="768" width_o="611" height_o="768" data-src="https://freight.cargo.site/t/original/i/31013442b278eae3c20ca06d6260ae6ce24a5d6f054f92eeebbb2f65b0c4efbd/sands-phillips_untitled-no.34-_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910145" border="0" src="https://freight.cargo.site/w/611/i/31013442b278eae3c20ca06d6260ae6ce24a5d6f054f92eeebbb2f65b0c4efbd/sands-phillips_untitled-no.34-_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="612" height="768" width_o="612" height_o="768" data-src="https://freight.cargo.site/t/original/i/8df9203aa299738c602c0e9acb49424bf3bb59997a1eeef15da997deab3a0253/sands-phillips_untitled-no.39_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910152" border="0" src="https://freight.cargo.site/w/612/i/8df9203aa299738c602c0e9acb49424bf3bb59997a1eeef15da997deab3a0253/sands-phillips_untitled-no.39_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="611" height="768" width_o="611" height_o="768" data-src="https://freight.cargo.site/t/original/i/6900989ba8eb62f50345ead7113e87344a0856f6f2b69413a206eeed267595cc/sands-phillips_untitled-no.43_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910157" border="0" src="https://freight.cargo.site/w/611/i/6900989ba8eb62f50345ead7113e87344a0856f6f2b69413a206eeed267595cc/sands-phillips_untitled-no.43_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="610" height="768" width_o="610" height_o="768" data-src="https://freight.cargo.site/t/original/i/80b562da3d527d21d52a53ff98c0f818cb46272650efc74631d7f7b0101053c5/sands-phillips_untitled-no.42_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910156" border="0" src="https://freight.cargo.site/w/610/i/80b562da3d527d21d52a53ff98c0f818cb46272650efc74631d7f7b0101053c5/sands-phillips_untitled-no.42_photographs-of-canada_38x30_original_formatted.jpg" /> <img width="607" height="768" width_o="607" height_o="768" data-src="https://freight.cargo.site/t/original/i/c38d724805b784c8977a6cc8189d95678386fa7e52ad078dc6293e4f9f74c431/sands-phillips_untitled-no.41_photographs-of-canada_38x30_original_formatted.jpg" data-mid="141910155" border="0" src="https://freight.cargo.site/w/607/i/c38d724805b784c8977a6cc8189d95678386fa7e52ad078dc6293e4f9f74c431/sands-phillips_untitled-no.41_photographs-of-canada_38x30_original_formatted.jpg" /> Untitled (Photographs of Canada), 2014 - 2018Manipulated found photographic prints on paper, varying sizes.&nbsp; &nbsp; Untitled (Photographs of Canada) is a series of manipulated found photographic prints on paper. Taken almost exclusively from Canada / A Year of the Land (1967), published by The National Film Board of Canada, the images document the Canadian landscape. Selected based on their compositional structure and existing forms, they were carefully sanded to remove any recognisable traces. Blurring the definitions of photography and drawing, in many ways the physical process inherent to their making addresses the shifting and fading quality of memory, as well as its connection to the body. https://sarahsandsphillips.com/Graduate-Work Sat, 30 Apr 2022 09:52:17 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Graduate-Work GRADUATE WORK (2018-2019) &nbsp;<img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/19ddfb39c5b3f4c179786f5dddf2db0d0947ca948b9da3da5caf5de169ed7ae3/11.-Fresh-flowers-in-alginate-in-a-container-in-a-carry-bag--201-9--narcissus-daffodils--cured-alginate--plastic-container--plastic-bag--27cm-x-20cm-x-1-3cm.JPG" data-mid="141283803" border="0" src="https://freight.cargo.site/w/1000/i/19ddfb39c5b3f4c179786f5dddf2db0d0947ca948b9da3da5caf5de169ed7ae3/11.-Fresh-flowers-in-alginate-in-a-container-in-a-carry-bag--201-9--narcissus-daffodils--cured-alginate--plastic-container--plastic-bag--27cm-x-20cm-x-1-3cm.JPG" /> Fresh flowers in alginate in a container in a carry bag, 201 9 narcissus daffodils, cured alginate, plastic container, plastic bag 27cm x 20cm x 1 3cm <img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/68c4da0e718b669365a273116e9151e22e94a0d6667e43aace95b33d87f0af83/R13_9877.JPG" data-mid="141363070" border="0" src="https://freight.cargo.site/w/1000/i/68c4da0e718b669365a273116e9151e22e94a0d6667e43aace95b33d87f0af83/R13_9877.JPG" /> <img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/0f402652cb4e2f2c00e0836232b7aa7eaae14e1000aabc99f01f194e7ddf630d/14.-Oil-on-the-skin--201-9--oil-paint-on-graepfruit-peel--1-6cm-x-6cm-x-8cm.JPG" data-mid="141284993" border="0" src="https://freight.cargo.site/w/1000/i/0f402652cb4e2f2c00e0836232b7aa7eaae14e1000aabc99f01f194e7ddf630d/14.-Oil-on-the-skin--201-9--oil-paint-on-graepfruit-peel--1-6cm-x-6cm-x-8cm.JPG" />Oil on the skin, 201 9—present (ongoing scupture series)&nbsp; oil paint on dried graepfruit peel 16cm x 6cm x 8cm&nbsp; <img width="1156" height="768" width_o="1156" height_o="768" data-src="https://freight.cargo.site/t/original/i/a9804870f558a9288bfd148f634dec11db6d9987b6fa49e19f2cb1a9c9781925/8.-Good-enough--201-9--hummus-container--failed-grapefruit-alginate-mould--plastic-for-clay-work--tissue--glue--1-5cm-x-1-2cm-x-1-5cm.jpg" data-mid="141283800" border="0" src="https://freight.cargo.site/w/1000/i/a9804870f558a9288bfd148f634dec11db6d9987b6fa49e19f2cb1a9c9781925/8.-Good-enough--201-9--hummus-container--failed-grapefruit-alginate-mould--plastic-for-clay-work--tissue--glue--1-5cm-x-1-2cm-x-1-5cm.jpg" /> Good enough, 201 9 hummus container, failed grapefruit alginate mould, plastic for clay work, tissue, glue 15cm x 12cm x 15cm <img width="1156" height="768" width_o="1156" height_o="768" data-src="https://freight.cargo.site/t/original/i/7dd47328efa84ac3a1fbae8d16bdd60e30a0cea95718e5e120c0f1f7e069dcc5/10.-What-it-feels-like-to-paint-I-really-needed-yellow--201-9--dried-out-oil-paint-tube--torn-tube-wrapping--1-6cm-x-1-0cm-x-3cm.jpg" data-mid="141283802" border="0" src="https://freight.cargo.site/w/1000/i/7dd47328efa84ac3a1fbae8d16bdd60e30a0cea95718e5e120c0f1f7e069dcc5/10.-What-it-feels-like-to-paint-I-really-needed-yellow--201-9--dried-out-oil-paint-tube--torn-tube-wrapping--1-6cm-x-1-0cm-x-3cm.jpg" /> What it feels like to paint (I really needed yellow), 201 9 dried out oil paint tube, torn tube wrapping 16cm x 10cm x 3cm <img width="1191" height="768" width_o="1191" height_o="768" data-src="https://freight.cargo.site/t/original/i/592052dbd5721a04c463096b69df376bd51eb2d072ebb855f472fe10756c9043/9.-Flowers-and-sick-to-keep--201-9--narcissus-daffodils--pink-resin-pieces--dirty-tissues--plastic-bag--32cm-x-1-3cm-x-1-0cm.jpg" data-mid="141283801" border="0" src="https://freight.cargo.site/w/1000/i/592052dbd5721a04c463096b69df376bd51eb2d072ebb855f472fe10756c9043/9.-Flowers-and-sick-to-keep--201-9--narcissus-daffodils--pink-resin-pieces--dirty-tissues--plastic-bag--32cm-x-1-3cm-x-1-0cm.jpg" /> Flowers and sick (to keep), 201 9 narcissus daffodils, pink resin pieces, dirty tissues, plastic bag 32cm x 13cm x 10cm <img width="1110" height="768" width_o="1110" height_o="768" data-src="https://freight.cargo.site/t/original/i/bb902b473c8eeed4f495a322ce120e020f7f3cb3b4c110c7ddebd04fb967bba6/12.-Studio-residues-early-wave-form--201-8--analog-photograph--1-3cm-x-1-7cm_edit-768.jpg" data-mid="141909444" border="0" src="https://freight.cargo.site/w/1000/i/bb902b473c8eeed4f495a322ce120e020f7f3cb3b4c110c7ddebd04fb967bba6/12.-Studio-residues-early-wave-form--201-8--analog-photograph--1-3cm-x-1-7cm_edit-768.jpg" />Early Wave Form, 2018 35 mm photograph <img width="4164" height="2745" width_o="4164" height_o="2745" data-src="https://freight.cargo.site/t/original/i/c49b2c237344b532c58ae4f5899978a7cbbfba40385447294ddb58a58ef88fdc/R13_9773_edit.jpg" data-mid="141362673" border="0" src="https://freight.cargo.site/w/1000/i/c49b2c237344b532c58ae4f5899978a7cbbfba40385447294ddb58a58ef88fdc/R13_9773_edit.jpg" /> Through a new window, 201 9 sublimation print on rubber 20cm x 20cm x 5cm <img width="1156" height="768" width_o="1156" height_o="768" data-src="https://freight.cargo.site/t/original/i/75c83d2288a493094270a9117a91c4ce943cb5a559abb0e54b123626c3126061/R13_9788_edit_formatted.jpg" data-mid="141285092" border="0" src="https://freight.cargo.site/w/1000/i/75c83d2288a493094270a9117a91c4ce943cb5a559abb0e54b123626c3126061/R13_9788_edit_formatted.jpg" /> Touch, 201 9 sublimation print on rubber40cm x 1 2cm x 1 2cm <img width="743" height="768" width_o="743" height_o="768" data-src="https://freight.cargo.site/t/original/i/4b2379fe0dc628fc9b1793fa58ab2f694f530736f99aabdf41443b4642cb63b8/Dried-flower-Residues_edit_crop_formatted.jpg" data-mid="141381834" border="0" src="https://freight.cargo.site/w/743/i/4b2379fe0dc628fc9b1793fa58ab2f694f530736f99aabdf41443b4642cb63b8/Dried-flower-Residues_edit_crop_formatted.jpg" /> Microfleur Residues, 201 9 flower stain, char, cotton 20cm x 20cm <img width="718" height="768" width_o="718" height_o="768" data-src="https://freight.cargo.site/t/original/i/fc3a95a75e2990763976fbf847c0e622882fc8dab3c4d50268a873fc37935541/Nailpolish-2_edit-crop_formatted.jpg" data-mid="141381643" border="0" src="https://freight.cargo.site/w/718/i/fc3a95a75e2990763976fbf847c0e622882fc8dab3c4d50268a873fc37935541/Nailpolish-2_edit-crop_formatted.jpg" /> Removed, 201 9 nail polish,&nbsp;paper towel 25cm x 25cm <img width="1156" height="768" width_o="1156" height_o="768" data-src="https://freight.cargo.site/t/original/i/76c8956238b2bc149dee2699d72a70bda1905fd3a02fca523ad3cf94668688bc/R13_9839_edit_formatted.jpg" data-mid="141285093" border="0" src="https://freight.cargo.site/w/1000/i/76c8956238b2bc149dee2699d72a70bda1905fd3a02fca523ad3cf94668688bc/R13_9839_edit_formatted.jpg" /> Preliminary wave, 201 8 clay 20cm x 20xm x 7cm <img width="2256" height="1404" width_o="2256" height_o="1404" data-src="https://freight.cargo.site/t/original/i/16be2b1828e56510b77a98b14fdd3c2b43c5c0a464306829d6b9e45c2d00176c/ceiling-studies.jpg" data-mid="141363567" border="0" src="https://freight.cargo.site/w/1000/i/16be2b1828e56510b77a98b14fdd3c2b43c5c0a464306829d6b9e45c2d00176c/ceiling-studies.jpg" />Ceiling studies, 2018-2019 digital photographs&nbsp; 28cm x 21 cm each <img width="3849" height="2510" width_o="3849" height_o="2510" data-src="https://freight.cargo.site/t/original/i/a50fab2209c076682f06eb8cad65dead6ea148c2f672140daab89d258c9663a1/R13_9799_edit.jpg" data-mid="141363898" border="0" src="https://freight.cargo.site/w/1000/i/a50fab2209c076682f06eb8cad65dead6ea148c2f672140daab89d258c9663a1/R13_9799_edit.jpg" /> Turning your back, 2018Image transfer on silk, plywood 50cm x 1 01 cm x 5cm https://sarahsandsphillips.com/Names-for-Paintings-for-Another-Time Sat, 03 Feb 2024 14:34:50 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Names-for-Paintings-for-Another-Time <img width="790" height="614" width_o="790" height_o="614" data-src="https://freight.cargo.site/t/original/i/912afeba247422544dcc0af7482fc145e8d7f7cde54e24a21663411a04607d3f/Sarah-Sands-Phillips_swimmers-group-edit.jpg" data-mid="203778614" border="0" src="https://freight.cargo.site/w/790/i/912afeba247422544dcc0af7482fc145e8d7f7cde54e24a21663411a04607d3f/Sarah-Sands-Phillips_swimmers-group-edit.jpg" /> Names for Paintings for Another Time Published by Swimmers Group Year: 2017 Special Thanks: Gart Darley Envelope embossing performed by Pam Lobb at Graven Feather, Toronto 19 sheets printed on archival alkaline/acid free paper Produced in an edition of 25 with 3 artist proofs My deepest gratitude to Sebastian Frye of Swimmers Group for his ceaseless pursuit of excellence, collaboration, and unwavering belief in this project. Names for Paintings for Another Time assembles in facsimile reproductions a series of typewritten concrete poems by Sarah Sands Phillips. Emphasizing the tactility and structural ambiguity of language, we collaborated closely with Sarah to imitate the size, look, and feel of the originals. The result is an artist multiple extending from the lineage of her poetic sculptural practice. <img width="1024" height="791" width_o="1024" height_o="791" data-src="https://freight.cargo.site/t/original/i/3f3445e24a7224d4001d116d747ed05ff5d33ee1e35ce08d5ccc28f04afc3f70/unnamed-1_800_edit.jpg" data-mid="203778616" border="0" src="https://freight.cargo.site/w/1000/i/3f3445e24a7224d4001d116d747ed05ff5d33ee1e35ce08d5ccc28f04afc3f70/unnamed-1_800_edit.jpg" /> <img width="790" height="614" width_o="790" height_o="614" data-src="https://freight.cargo.site/t/original/i/a7e52e92cdde94eef53cd5d982a85843f68cc5d216047bcd6492d86c35fab6aa/Sarah-Sands-Phillips_edit.jpg" data-mid="203778615" border="0" src="https://freight.cargo.site/w/790/i/a7e52e92cdde94eef53cd5d982a85843f68cc5d216047bcd6492d86c35fab6aa/Sarah-Sands-Phillips_edit.jpg" /> https://sarahsandsphillips.com/Publications-1 Sat, 03 Feb 2024 15:20:19 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Publications-1 Selected Publications Poetry (SEARCHING FOR) HOMEPublic Journal, Issue 72,&nbsp;2025 <img width="1024" height="1313" width_o="1024" height_o="1313" data-src="https://freight.cargo.site/t/original/i/51a4fe8788110058a04769f7ed09ca3c3274efa5a1e4fa9741294ebd645ec48e/72-Cover.jpeg" data-mid="240671871" border="0" src="https://freight.cargo.site/w/1000/i/51a4fe8788110058a04769f7ed09ca3c3274efa5a1e4fa9741294ebd645ec48e/72-Cover.jpeg" /> PUBLIC 72: (Searching for) HomeEdited by Shaunasea Brown and Nadine Valcin Produced in collaboration with Andrea Fatona and the Centre for the Study of Black Canadian Diaspora Responding to the growing turmoil of politics, capitalism, and environmental disasters worldwide, this issue of PUBLIC explores the various physical, metaphorical, and conceptual ways that home is created, experienced, negotiated, and transformed. In this unprecedented moment of upheaval, we witness massive disruption: Wildfires ravage towns and forests, flash floods destroy homes, and the concept of “home” is constantly challenged. Ideas like citizenship, residency, and migration are being redefined, while people are detained and the State neglects racialized refugees. As a result, the notion of “home” takes on a new significance, where sensation, memory, and emotion outweigh the built environment in creating and maintaining a place of refuge, safety, and comfort. Contributors: Adesoji Babalola | amílcar peter sanatan | Ann Marie Beals | Ayşegül Yıldırım | Benjamin Ogrodnik | Cornel Grey | Emilie Contant | Eve Wong | Fiqir Worku | Johonna McCants-Turner | Katie Kehoe | Maya Bastian | Neala Luna Bhagwansingh | Pascale Diverlus | Paul Akpomuje | Sarah Sands Phillips | Semra Woldemikael | Somayeh Rashvand | Tapo Chimbganda | Valérie d. Walker | Wayne Dunkley | Yeabsera Agonfer Reviews: Friederike Landau-Donnelly | Lara El Mekaui | Laura St. Pierre | Maya Wilson-Sánchez | Rebecca M. Gordon 7.5 x 9.5 inches; 168 pages; full-colour; printed by Marquis in Canada. About PUBLIC PUBLIC is an interdisciplinary peer-reviewed journal with a core focus on visual art. The editors of each issue, experts in their field, act as the initial curators, while our integration of a double blind peer-review process has emphasized our commitment to producing critically relevant, cohesive issues. Contributors—consisting of Canadian and international artists, scholars, and curators—provide in depth and rigorous contribution on issues, themes and concerns within contemporary culture and the arts. Available here and through Intellect Books Poetry SPLINTER JOURNALSplinter Journal, Issue 2,&nbsp; Fall 2025 <img width="1908" height="1304" width_o="1908" height_o="1304" data-src="https://freight.cargo.site/t/original/i/265e5ddff9796316ba42f2340d4105b78404cdee6bc82462dc2156f12d4558da/splinter-front-and-back-2025_edit.jpg" data-mid="238579837" border="0" src="https://freight.cargo.site/w/1000/i/265e5ddff9796316ba42f2340d4105b78404cdee6bc82462dc2156f12d4558da/splinter-front-and-back-2025_edit.jpg" /> SPLINTER JOURNAL Issue 2Bats are falling from the sky. There's an inexplicable knocking on the front door at 2am. The Australian election took place in a parallel universe where climate change doesn't exist. A man you've never met before says he sees you in his dreams.If the apocalypse isn't here yet (debatable), the writing in Splinter's second issue indicates it will be soon. Read new fiction, non-fiction, and poetry from emerging and established writers gesturing at the chaos, laughing despite it, and holding tightly to what they love. Alex Cothren, Corey Theatre, Courtney Jaye, Ellena Savage, Erin Riley, Glenn Diaz, Hasib Hourani, Jessica White, Jo Case, JP Wilson, Katie Smith, Madeleine Nattrass, Mag Merrilees, Margot Albrecht, Naya Jehad Fathi Shalbak, Omar Musa, Oyewumi Fawaz Akorede, Rita Horanyi, Rowena Vnuk, Royce Kurmelovs, Sarah Sands Phillips, Smriti Daniel, Sofya Gollan, Stephanie Westwood, Wes Lee 160 pages + 32 page insert233mm x 164mm25 writers63,966 words320,134 characters1 reference to Survivor (the tv show, not the song) Buy Issue 2 here. Learn more about Splinter Journal here. &nbsp;Poetry FRICTIONtba: Journal of Art, Media, and Visual Culture, Winter 2025 <img width="663" height="863" width_o="663" height_o="863" data-src="https://freight.cargo.site/t/original/i/759cb1266dbb0bc1778d44a5845129fb94092e4c7fb49381fdebcab1b2185331/tba_FRICTION-2025.jpg" data-mid="238577444" border="0" src="https://freight.cargo.site/w/663/i/759cb1266dbb0bc1778d44a5845129fb94092e4c7fb49381fdebcab1b2185331/tba_FRICTION-2025.jpg" /> FRICTION Vol. 6 No. 1 (2024): FRICTION The static of friction is palpable; it shocks us daily. Below us, the lithosphere steadily pushes against itself in a process of subduction, and above ground a multiplicity of narratives electrifies the air through various frictions. Classically, friction has been associated with chaos or conflict, as a negative impact of two or more forces making contact with one another. Tba’s mandate since its inception has been to welcome experimentation in the works of emerging scholars and artists, and our past contributors have found space to reimagine what a scholarly journal might look like, creating various frictions as the visual and sensorial qualities of art collide with the boundaries of the academic framework. Our issue this year is no different, featuring artists, writers, and academics reflexively analyzing their work through research-creation, poetry, and material encounters, even pushing back against the structure of the article itself through experimental footnotes and sound. In our 2025 issue, we celebrate creative practices and scholarly writing born from experimentation and risk, reimagining friction as a force that can simultaneously describe conflict, pain, and grief, and also the creative, curious, and joyful. Published: 2025-02-01 View Vol. 6 here.&nbsp; Download the pdf here. tba&nbsp;is an annual peer-reviewed journal organized by graduate students of the Visual Arts Department at Western University in London, Ontario. We hope to reflect the unique nature of our department in its vibrant mix of studio arts, art history, and museum/curatorial studies. This journal provides an interdisciplinary forum for emerging and independent scholars and artists by bringing together studio, art history, cultural studies, theory, criticism and related fields. Poetry&nbsp;The Decolonial PassageThe Decolonial Passage, Winter 2025 <img width="769" height="322" width_o="769" height_o="322" data-src="https://freight.cargo.site/t/original/i/5c896b69fa5e56345914bcdaeed8ff20865293a059af14e91cd027f01819a00e/logo-preview.png" data-mid="238577202" border="0" src="https://freight.cargo.site/w/769/i/5c896b69fa5e56345914bcdaeed8ff20865293a059af14e91cd027f01819a00e/logo-preview.png" /> The Decolonial Passage Decolonial Passage welcomes writing from writers of all backgrounds engaged in the decolonial project, regardless of the writer’s race, origin, gender, disability, or geographical location. Simultaneously, Decolonial Passage centers African, African-American, and Black Diaspora writing from the African continent, the Americas, Europe, and beyond. Decolonial Passage presents each distinct piece of writing as a passage worthy of readers’ attention in which writers create texts to articulate a variety of themata affecting the human condition including, but not limited to authenticity, liberty, alienation, dignity, community, and boundless love. Decolonial Passage publishes writing from emerging and established writers who use language and form in innovative ways. Read “Shizuoka Bison” here. Poetry AnthologySongs of Revolution: Poems Against OppressionSunday Mornings at the River, 2024 <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/0ca74091d754f2b8cd459ab1f3057cff6ac59034b0a43fabe03a389ad24a1920/Songs-of-Revolution-04.png" data-mid="203781746" border="0" src="https://freight.cargo.site/w/900/i/0ca74091d754f2b8cd459ab1f3057cff6ac59034b0a43fabe03a389ad24a1920/Songs-of-Revolution-04.png" /> Songs of Revolution In this anthology, you'll find a gathering of poets who, through their unique lenses, capture the essence of our current era — a world marked by both struggle and hope. Their words not only reflect individual experiences but also resonate with universal themes of resilience and the pursuit of change. Why This Collection Stands OutDiverse Viewpoints: The poets in "Songs of Revolution" come from various parts of the world, providing a rich mixture of cultural and personal narratives.Relevant Themes: The collection navigates through topics like conflict, peace, love, and loss, offering insights into the human experience in a world often riddled with challenges.Supporting a Cause: With this book, your purchase goes beyond literature. We're dedicating all royalties to Medical Aid for Palestinians, directly impacting lives where support is crucial.Beyond Poetry: A Call for Engagement "Songs of Revolution" invites readers to engage with the stories and experiences that shape our collective world. Each poem is an opportunity to understand different facets of global struggles and triumphs. This anthology serves as a reminder of the power of storytelling in fostering empathy and inspiring action. Join us in this endeavour to explore the richness of human narratives across the globe. "Songs of Revolution" is more than an anthology; it's a window into the diverse stories that make up our world. Paperback ‏ : ‎ 178 pages ISBN-13 ‏ : ‎ 979-8877559240 Dimensions ‏ : ‎ 12.7 x 1.14 x 20.32 cm Purchase Poetry AnthologyWinter 2024Querencia Press, 2024 <img width="985" height="1324" width_o="985" height_o="1324" data-src="https://freight.cargo.site/t/original/i/d517a7c530966bdc42fb2049e0f516d102a8292a18eabf05b28d054efe8eaf68/Querencia-Press-Winter-2024.jpg" data-mid="203781747" border="0" src="https://freight.cargo.site/w/985/i/d517a7c530966bdc42fb2049e0f516d102a8292a18eabf05b28d054efe8eaf68/Querencia-Press-Winter-2024.jpg" /> Querencia Press Winter Anthology 2024 Querencia Press's Winter 2024 anthology features 46 contributors of Poetry, Fiction, &amp; Non-fiction work. Themes of the collection vary widely and the editor would like to include content warnings for self-harm, addiction, grief, domestic violence, religious trauma, sexual trauma, gender dysphoria and politics, as well as some blood and body horror. Edited by Emily Perkovich PurchasePoetryEros&nbsp;Tokyo Poetry Journal, Fall 2023 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="379" height="537" width_o="379" height_o="537" data-src="https://freight.cargo.site/t/original/i/21c27129bd32fa19a394b17e4e24792b82ed927d104ad512309aaec02d14e3ed/Eros-cover.jpg" data-mid="203782501" border="0" src="https://freight.cargo.site/w/379/i/21c27129bd32fa19a394b17e4e24792b82ed927d104ad512309aaec02d14e3ed/Eros-cover.jpg" /> EROS Volume 14: Eros Poetry and translations by&nbsp;Sayaka Asaba (translated by Jordan A. Y. Smith), John Solt, PD Lyons, Illias Tsagas, Davord Griffiths, Daisuke Yakumo, Jes Kalled, Rachel Ferguson, Jacob R. Moses, Jeremy Gadd, C. E. J. Simons, Tim Kahl, Paul Rowland, Debs Max, Greg Snazz, Kevin Carter, Repatriare Perdita, Duncan Whom, Farah Ali, Alison Lubar, Noriko Mizuta (translated by Jordan A. Y. Smith), Ryan Dzelzkalns, Shozo Torii (translated by Taylor Mignon), Samuel Louis Spencer, Sarah Sands Phillips, Ulyses Razo, Alexandra Fossinger, Alex Watson, Srinjay Chakravarti, Edward Levinson, Al Ningen, Yowen Xan, Datiko, Mihiro Ogawa, Jordan A. Y. Smith, Nishalya, Herman Bartelen, Zoria Petkoska Kalajdjieva, Jonathan Pessant, Joy Waller, Michael Ely, Alicia Elkort, Andrew Gebert, Bill Howell, David Chenery, Sorcha&nbsp; Chisholm, Simon Scott, Philippe Burgin, Jeffrey Johnson, Robert Moreau, Mariko Kitakubo, Kaori Shoji, Jake Adelstein, Elysian, Barbara Summerhawk, Nadia Arioli, Mat Chiappe, Joan Anderson, Tim Exley, Allan Lake, Taylor Mignon, Sergio A. Ortiz Rivera, Ndaba Sibanda, Marcellus Nealy, John Francis Cross, Tracy Sherman, Robot Bastard, Miracle Jones, Poetry by Jes Kalled, Brian Wood-Koiwa, Vincent Aimée, Sasha Drozd, Neil Craig Chapman, Debs Max, Rorbert Holbrook, Sanjay Bradford, Ilias Tsagas, May Drew, Herman Bartelen, John Meyer, Marcellus Nealy, Peter Leghorn. Cover Art by Jes Kalled PurchasePoetryDefining Moments: Fall 2023Yellow Medicine Review, 2023 <img width="908" height="1337" width_o="908" height_o="1337" data-src="https://freight.cargo.site/t/original/i/971e69c30dc0c002ddd6ed73b110b746ce930e18649acd8406538f7d7a3264f4/yellow-medicine-review_crop.jpg" data-mid="203781900" border="0" src="https://freight.cargo.site/w/908/i/971e69c30dc0c002ddd6ed73b110b746ce930e18649acd8406538f7d7a3264f4/yellow-medicine-review_crop.jpg" /> Yellow Medicine Review Fall 2023 The Defining Moments Issue Cover art by Ray Young Bear Contributors include Crisosto Apache, T. Marie Bertineau, Milton Bluehouse, Jr., Krystle Bowers, Antoinette Bridgers-Smith, Anthony Ceballos, Tripp J Crouse, Dr. Deidra Suwanee Dees, Kalilinoe Detwiler, Coby-Dillon English, E. Fox, Tavia Frances Torralba, Eliane Gerard, Jane Hammons, Tonya Holy Elk, Chris Hoshnic, Ira Thorpe Huff, Linda Zamora Lucero, Dwayne Martine, Rahnàwakęw Donnie McDowell, Maiah A Merino, MariJo Moore, Brianna G. Reed, Sarah Sands Phillips, Nevine Sultan, Jonathan Taylor, Angela Trudell Vasquez, Tony Wallin-Sato, Ray Young Bear. PurchaseBook (Art Publication)The Artist Cookbook2019 <img width="1500" height="1875" width_o="1500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/2e37dbf98370de3786dd29e8ccab732e0275c7736bbd9c08e12b2c1b77b9af7b/vol-1.jpg" data-mid="203781828" border="0" src="https://freight.cargo.site/w/1000/i/2e37dbf98370de3786dd29e8ccab732e0275c7736bbd9c08e12b2c1b77b9af7b/vol-1.jpg" /> The Artist Cookbook Vol. 1 The Artist Cookbook Vol. 1 contains 58 recipes, from 52 artists collected from across the country. Along with the recipes artists submitted, came personal stories and unexpected glimpses into each of their lives. Some of these narratives have made their way into the book. The recipes included are varied, yet respect an entry-level skillset, without compromising taste or aesthetics (we’re artists! this is important to us). When selecting the recipes I found that a few ingredients showed up time and again and became staples, so I would suggest stocking up on some of these items, including: Parmesan cheese, garlic, onions, parsley, eggplant, and of course, lemons. More often than not, personal recipes come from a place of love and are attached to memories. I hope the ones I have selected for this book find a home alongside you. My wish is that you continue these traditions, and engage in the sharing and memory-making that meals provide us. Bon appétit! --Carrie The Artists Amanda White, Anna-Sophia Vulovich, BGL, Bruce Barber, Brynn Higgins-Stirrup, Carrie Perreault, Clelia Scala, Dave Dyment, Dave Hucal, Donna Akrey, Ed Pien, Eryn Foster, Graeme Patterson, Howard Podeswa, Jamie Q, Joële Walinga, Joy Walker, Kelly Richardson, Kim Morgan, Kristine Mifsud, Laura Letinsky, Lisa Birke, Lorène Bourgeois, Lorna Bauer, Maggie Groat, Mariam Magsi, Meggan Winsley, Meghan Price, Melika Saeeda, Micah Lexier, Michael Floman, Millie Chen, Nadia Gohar, Natalie Hunter, Nicole Collins, Nicole Rayburn, Nour Bishouty, Patrick Cruz, Rachel Crummey, Rah Eleh, Rajni Perera, Rhonda Weppler, Ruth Kaplan, Sage Szkabarnicki-Stuart, Sarah Sands Phillips, Sarindar Dhaliwal, Stephanie Jonsson, Vanessa Brown, Vanessa Dion Fletcher, Vanessa Maltese, Winnie Truong, Yam Lau Published: Toronto, OntarioYear: 2019Pages: 122pDimensions: 8 x 10 x 0.5”Cover: PaperbackBinding: Clear plastic coilProcess: Digital ColourISBN: 978-1-9991215-1-8 PurchaseBook (Art Publication)NUT: Volume II2019 <img width="492" height="563" width_o="492" height_o="563" data-src="https://freight.cargo.site/t/original/i/758dcf3d366c05bafa566e78c6f604d6948c8772748f065fcf585c7903a0f7f9/TheNut-Vol2.jpg" data-mid="203781794" border="0" src="https://freight.cargo.site/w/492/i/758dcf3d366c05bafa566e78c6f604d6948c8772748f065fcf585c7903a0f7f9/TheNut-Vol2.jpg" /> NUT / Volume 2 Liza Lacroix and Alli Melanson NUT is an all women's publication devoted to celebrating and fostering the female artist community. Design by Anna-Karin Loureiro and Patricia ReisForeword by Loreta Lamargese Edition of 200Softcover 5 x 7 in., perfect bound with perforated pages.Printed in Montreal by BookArt Collection of 64 detachable prints by women artists including: Alessandra Acierno, Susan Bee,&nbsp;Amy Bessone,&nbsp;Simone Blain,&nbsp;Amanda Boulos,&nbsp;Cristine Brache,&nbsp;Sandra Brewster,&nbsp;Lex Brown,&nbsp;Vanessa Brown,&nbsp;Ginny Casey,&nbsp;Phoebe Collings-James,&nbsp;Holly Coulis,&nbsp;June Culp,&nbsp;Laura Dawe,&nbsp;Laura Findlay,&nbsp;Meg Franklin,&nbsp;Zipora Fried,&nbsp;Rebecca Gilbert,&nbsp;Elizabeth Glaessner, Claire Greenshaw,&nbsp;Vanessa Gully Santiago,&nbsp;Delphine Hennelly,&nbsp;Stephanie Hier,&nbsp;Brook Hsu,&nbsp;Kristen Jensen,&nbsp;Cindy Ji Hye Kim,&nbsp;Emma Kohlmann,&nbsp;Jyan Ku,&nbsp;Denise Kupferschmidt,&nbsp;Anne Libby,&nbsp;Aino Lintunen,&nbsp;Antonia Low,&nbsp;Kristy Luck,&nbsp;Shannon Lucy,&nbsp;Katie Lyle,&nbsp;Maya Martinez,&nbsp;Frances Adair Mckenzie,&nbsp;Maysha Mohamedi,&nbsp;Elisabeth Molin,&nbsp;Abby Mcguane,&nbsp;Sophy Naess,&nbsp;Gahee Park,&nbsp;Erika Ranee,&nbsp;Libby Rothfeld,&nbsp;Brie Ruais,&nbsp;Sarah Sands Phillips,&nbsp;Chloe Seibert,&nbsp;Mira Schor,&nbsp;Ellen Siebers,&nbsp;Lisa Signorini,&nbsp;Polly Shindler,&nbsp;Dana Slijboom,&nbsp;Jane Swavely,&nbsp;Alexandria Tarver,&nbsp;Camille Thomas,&nbsp;Winnie Truong,&nbsp;Jessica Vaughn,&nbsp;Megane Voghell,&nbsp;Joy Walker,&nbsp;Nell Waters,&nbsp;Kathleen White,&nbsp;Faye Wei Wei,&nbsp;Rachel Eulena Williams and Crys Yin. All proceeds will be donated to the Global Fund for Women. PurchaseBook (Art Publication)Colouring BookAkin Collective, 2017 <img width="646" height="667" width_o="646" height_o="667" data-src="https://freight.cargo.site/t/original/i/00a3a42facdc4d5a2a3910251e936d31c39f74fa7320622350303f33dc5a34b2/AkinColouringBook1.jpg" data-mid="203781839" border="0" src="https://freight.cargo.site/w/646/i/00a3a42facdc4d5a2a3910251e936d31c39f74fa7320622350303f33dc5a34b2/AkinColouringBook1.jpg" /> Akin Collective Colouring Book &nbsp; Printed by Colour Code in Toronto, each is an original risograph edition. Cover design and layout by Nicole Tarasick Akin Collective is a shared art studio with locations in Parkdale and Bloordale Village in Toronto. This publication contains 63 original works by Akin members as well as their nearest and dearest including contributions by significant members of the Toronto arts community including Scott Everingham, Georgia Dickie, VSVSVS, Alex McLeod, Jeremy Bailey &amp; Kristen Schaffer, Sarah Sands Phillips, Melissa Fisher, Hanna Hur and more. Each unique piece is reflective of the artist’s personal style, regardless of their usual medium or practice. It's a great gift for artists and art lovers.71 pages, black and white, 19 x 24 cmPaperback Purchase https://sarahsandsphillips.com/Front-Page-1 Sat, 30 Apr 2022 12:12:35 +0000 SARAH SANDS PHILLIPS https://sarahsandsphillips.com/Front-Page-1