In Sarah’s own words: “Clay appeals to me because of its contradictory nature. It is robust and tender, stubborn and yielding, dense and light. Clay offers flexibility, receptivity and directness. It forms a skin, structure and shape simultaneously and the only tool necessary is the hand.
When I start to build a form, I cut small tiles of clay from a larger slab. These are pinched and squeezed rhythmically between finger and thumb until very thin. These small components are joined to each other creating their own growth pattern. The accumulation of small repeated gestures leaves a collateral trace, not only on the surface but also on the spaces, defining lines and structure, showing signs of a hidden past. An organic geometry begins to take shape.
Layers of thin slip are brushed on, polished and fired. In order to gain nuance of texture and tonal balance, the process is repeated, echoing in its own way the original carapace. The ghostly residues of scars and joins are enhanced, until the surface itself reveals its own narrative or accumulation of events. Through this process, content and aesthetic are intertwined. I use a Dremel tool to draw into these surfaces: grids, lines and patterns, attempting to articulate form, image and atmosphere.”