Work that I wish I had published in a large deluxe limited edition
I literally only know Sarah’s work from online – but god I wish I owned everything she has ever made.
I love her colour work; her choices of texture and pattern; her colour combinations are so vibrant, living and communicative I’d sink deep down into their glowing acid power like people claim to do with a Rothko.
What she achieves with computer textures makes me want to grab a pen and a brush and get that physically down on paper. Her art affects me the same Bill Sienkiewicz’s affected my childhood mind. I want to cut out and paste, to splash paint and hatch and scratch and design the page into perfect life. I want to perfect what they’ve put on paper, with my own hand because then I’ll have achieved a skill and greatness I could easily respect.
Which, I suppose, makes my choice either odd or contrary.
When I saw her post this double page from her current comic Aorta I contacted her straight away because it was just so impressive. All that texture to lose myself in – I actually put it up across the double screens I have at work. I saw it and just imagined holding a big – A3 page size big – hardback book; textured paper, almost like watercolour paper and that image crisply set into that paper, so deep it stretches beyond the edge of vision, like an IMAX movie. Comics suffers to keep itself cheap and avoid ‘being elitist’. But I don’t see why we can’t have expensive, deeply beautiful objects as vehicles to portray these works. I think this art deserve engaging with in a manner that let’s you obscure the world around and just sink into this glorious world of marks, movement, design and texture, like you’re climbing through a dark forest.
Being able to immerse yourself into the reality on paper and letting the work argue for the respect it so readily deserves.