My work deals with the interaction of color and pattern as well as the complicated relationship between mass-production and the handmade.
Crafted without the use of tapes or masking films, each piece appears to be generated through digital means. However, upon closer inspection, one sees
evidence of the hand in the form of slight human imperfections that reveal the true nature of each object. This process of making provides me with
both a meditative and dynamic experience. I implement sets of formal rules onto my canvases, not always having a clear understanding of the final piece. This process allows me to ride the line between control and accident, and while some components are clear from the beginning, others reveal themselves as each piece unfolds. I am inspired by traditional methods of textile construction, and I tend to work the canvas as I would if I were weaving, one “weft” at a time, building the piece from a concentrated area out.
Sarah’s brightly colored and heavily patterned paintings and drawings recall traditional American quilt patterns, stained glass windows and colorful
mosaics. Her obsession with color and form began at a young age when she discovered that creating her own geometric coloring pages in school eased
her anxiety and brought her immense joy.
Sarah holds an MFA from the Cranbrook Academy of Art and a BFA in textile design from the Rhode Island School of Design. She has worked as a studio
assistant to Takashi Murakami in his Long Island City, NY studio and as an adjunct professor of art history at Penn State University and various small
college campuses throughout Pennsylvania. Her clients include the University of Michigan, Digital Kitchen, Visit Bend and Ten Barrel Brewing Company, and her work has been shown at the Society of Illustrators in New York City. She currently lives and works in Central Oregon.