We are currently featuring artist Sarah M. Timberlake. Her marks create a story that shows the effect that surroundings can make on an artist. You can view these works in person at Gallery 72 or browse them online here.
After much time spent as a photographer and installation artist, I wanted to begin making work that was more direct, more visceral. I turned, in around 2006, and after many years away, to painting and drawing, beginning my exploration of making marks on paper. I wanted to remove “the disconnect” I felt between myself and the work I was making as a photographer, wanting to make art that was more immediate and less contrived. I wanted to work more immediately than I did as a sculptor. These pieces started as just experiments, just to see what I could do with brush, paint, oil stick and paper.
I am trying to make things that are incoherent present, visual. I end up chasing the lines I start with; I work in series, usually 3-5 pieces at the same time so the energy can flow between pieces. Immediacy is important. Working on paper with paint and oil stick is a key to this, as there is no turning back, no erasing or rubbing out; you’re committed to the image you’re starting or you have to rip it up and start again. Loving the act of making these often shows on the work – particularly in the very spare pieces on just lines and marks.
The “Disasters Aftermaths” pieces came out my correspondence with an artist/writer friend of mine (I’m one of his editors), and our discussions of stories and how to tell them. I wanted to try working in a whole new way – messy, layered, more thought out – with a story in mind as I worked. Unfortunately (or fortunately), when I started these, much was happening around me that affected me personally– storms, tornados, fire, war – and so those are the stories these tell, of the aftermaths, of the survivors.
I work varyingly both ways – the “…Aftermath” series will alternate with the pure abstract work, depending on my headspace.Source Link: More information