As a self-taught artist Sarah finds that her paintings are the result of exploration and trial and error. Her current works come from years of experimenting with texture.
Incorporating recycled materials Sarah creates a foundation by layering overlapping fragments of torn shapes and edges of paper and card, scrim, wire and sacking onto misshapen pieces of board. Pigment ...is applied, then wiped or sanded away to expose interesting lines and markings and allowing the buildings to be revealed. Sarah likes to portraying old, weather-worn, isolated and derelict cottages, farms or outbuilding, with the aim to give her art the depth of experience we are absorbed by something moving or captivating. Her intention is to evoke feelings towards the beauty in nature and in our history; crumbling plaster and the traces of peeling paint inside a dilapidated farmhouse past repair, a collapsed roof of an old, abandoned cottage that has it's rafters exposed or an old, tumbledown dry stone wall where the remains of the building nearby can barely be traced under our feet. Sarah’s aim is to portray the reality of working life in the mills and fishing villages of nineteenth century Britain. Her paintings are at once intriguing and compelling, a new and exciting way to bring the past to life. Her work evokes the nostalgia we can feel when coming across the imposing presence of these old buildings in a dilapidated state. Whilst many of these much loved buildings are slowly and sadly being lost to us, Sarah aims to capture the feeling of our history, transporting us to the past with these buildings towering behind weather worn, crumbling cottages and terraces. Inclined towards using a mix of media, acrylics or inks, she then bringing the piece together with the use of oils. This process creates the depth and ages her artwork, with textures being revealed from underneath the pigment. She uses a limited palette when it comes to colour, often using a palette of blues and browns. Occasionally Sarah experiments with the effects that wire, scraping, wiping and sanding can have on the mood of a piece often using my hands, rags or spatulas rather than a brush.