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Sarah’s response to materials: wood, metal, cardboard, is intuitive and honest. Pieces are made by hand, instinctively responding to the tactile qualities and structure of the materials creating forms that please her. Choosing not to add texture, embellishment or decoration the surfaces are left in their simple state.
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It would be fantastic if we could make a living taking only the photographs we wanted, expressing our vision through our own personal work, just like the artists that we look upon for inspiration. Unfortunately, the majority of us still have bills to pay.
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Phyllida Barlow’s work has been seen throughout the UK recently — at the Hepworth as part of the inaugural sculpture prize, and filling Tate Britain’s Duveen Gallery and Edinburgh’s Fruitmarket. Her work is on show until late November in the British Pavilion at the Venice Biennale. Much of the work on display in Venice speaks of migration, ethnicity, and post-colonialism — I’ll cover this in other posts — but Barlow has produced a work that is concerned with traditional sculptural concerns: space, weight, scale, and so on.
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Join artist David George in Borden on the 22 April.
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I have recently discovered South African textile artist Willemien de Villiers. Her stitched work caught my attention because of the stories that she tries to tell through the materials she uses and the techniques to talk about the process of decay and disintegration, as well as the inevitable new growth and integration that follows.
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I have been passionate about creating art all my life. To represent or create an image is when I am myself.
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