Sarah graduated from the Royal College of Art with a Masters in Fine Art Sculpture in 2005. Her work subtly confuses the viewer into questioning the world around them by juxtaposing imagery and objects that are from both the everyday and her otherworldly interpretation. Drawing is her primary outlet, the foundation for her whole practice, this process can be both intuitive and subconscious. The viewer can identify with Sarah’s work through its subtle similarities to what is familiar to them. Wh…

Sarah graduated from the Royal College of Art with a Masters in Fine Art Sculpture in 2005. Her work subtly confuses the viewer into questioning the world around them by juxtaposing imagery and objects that are from both the everyday and her otherworldly interpretation. Drawing is her primary outlet, the foundation for her whole practice, this process can be both intuitive and subconscious. The viewer can identify with Sarah’s work through its subtle similarities to what is familiar to them. When looking at her work Sarah wants the viewer to feel disorientated yet also thrilled and elated by her use of colour and materials. Her wide choice of materials, offer multiple references and allow the viewer to interpret many meanings.

Sarah is influenced by many subjects, some become ‘obsessions’ that reoccur throughout her work. One of her current interests is the regalia/ costume that is found in the culture of many tribes around the world. Elaborate headdresses and costumes inflate the status of the wearer bridging between the real and spiritual worlds.

Sarah’s work practice involves repetitive and intensive processes that satisfy her physical and mental relationship with the work. The act of covering over for her is a form of decoration changing either the object that is being wrapped or the page that is being drawn on, reinventing its surface and its mass.

The attention to detail in Sarah’s crafts/processes are a feast for the senses, and it resonates strongly with Sarah’s commitment to the hands on making process and her fascination with new techniques and materials. Many of the materials used have a throw away sensibility and a non-descript aesthetic. They are non-readable as materials and they cannot be distinguished in the real world, again making the viewer question the objects purpose.

Sarah has exhibited both nationally and internationally, she has also had two books published.