“Sarah’s subtle and beautiful works are thought provoking. She deconstructs our relationship with space. Exploring the feminine in domestic space without relying on sexualised imagery. The implicit political nature of her work and how it has a nuanced exploration of psycho-geographical features complicated and fascinating ideas in a sensitive subtle and beautiful aesthetic”

Panel 1

shadows – hold their breath

In shadows – hold their breath the light from a window shadows moves around a corner, and goes back again. Flowing, from the not-yet of the future to the no-longer of the past, constantly in the present the breath, constantly running forward to death. This work explores the notion of time as a multi-dimensional process. The title is taken from a line in Emily Dickinson There’s a certain Slant of light.

Blake Prize Finalist

Panel 2


Continues explores space. Both as an intermediary transitional place leading to other places, but also a dead end, going nowhere. Which alludes to life, of passing through, and yet ending. The work references the exterior, and surrounding area. Outside there is daylight and it is that light that shapes our understanding of what we see, that draws the forms with its lights and shadows. Inside we are in the cave, all the images we see are just shadows of reality. All other light just imitates the sun.

Panel 3


Glaucon was Plato’s brother, and in his book The Republic Glaucon was Socrates audience.

In this work Glaucon is a domestic scene, tables and chairs, a space that indicates life, but is not life itself. Shadows and reflections, where the light moves and imperceptibly changes. These are the shadows of existence, rather than the reality, a shadow and reflection of being. The audience is also able to become entangled in the work, entering and flowing through the space. Using a restrained approach draws the viewer in, so that they can engage with the subject matter. This gentle way of addresses issues in a way that can lead to a thought provoking and persuasive work. There is time and space to reflect on our thoughts, beliefs and memories.

Panel 4


Cycle is an installation made with used white bed sheets, crocheted into abstract forms and adorned with mooncups. Old and worn sheets used to be torn and made into pads as menstrual protection. Now latex menstrual cups are the new reusable form of sanitary products. Recycling instead of throwing away is nothing new, if anything disposable products have only come about in the late twentieth century. The calm white makes it a contemplative piece, which also evokes ideas of purity and virginity, contrasted on closer inspection by the tones of grey in the worn sheets. This is a subversive method of discussing menstruation, a subject that gets closed down because it is seen as disgusting. There has always been a problem with women bleeding, yet it is a vital part of human biology. The structures suggest different types of menstrual cycles regular and irregular, heavy or light. When people are stopped from discussing intimate issues, like menstruation and reproduction it can cause serious health conditions to go unattended. This work engages the viewer in a conversation that they should have but would not choose to.