My work is about process, a repetitive mark, a buildup of texture, the depiction of movement. Abstract fields represent nature; invented landscapes and energies move through vast and intimate spaces. Ink drawings are inspired by patterns of the natural world, repetitive minimal music and sound; the vast scale of creation and the intimate texture of bark or water.
Much of the current work began off the coast of Georgia, where I painted in semi-wild jungle, amid tidal rivers at the Ossabaw Island Project. It was here my work became increasingly abstract, emerging, ultimately as energy, movement and earthy tone.
Living and traveling abroad, in particular living in Bangladesha and Thailand for six years has infused an ancient cadence and spirt into my work, as well as inspired my use of materials, such as making organic inks from plants.
At heart, my art-making is a continuing spiritual quest, a meditative and playful encounter with physical reality. It is a way to both harness and release energy; to connect and delve.
Artist Bio / CV
Sarah Sutro has lived in Boston, Asia, Ithaca, NY and Oakland, CA. Her work has been shown internationally in London, Belgrade, Bangkok, Dhaka, Montnegro, Romania, and Nicaragua; and in the US in New York, Boston, San Diego, Missouri, Maine, Miami and Louisiana. Her work can currently be seen in Boston’s Drawing Project at Carroll and Sons Gallery.
In 2000 she won a Pollock Krasner Grant. She has also been a finalist for NEA, Mass Artist Foundation Grants (Painting, Drawing, Writing) and CAPS (NY State) grants. She has held fellowships at MacDowell Colony, Ossabaw Island Foundation, the Millay Colony, Blue Mountain Center and the American Academy in Rome. Also a writer, in 2005 she was a finalist for the Robert Frost Poetry Award.
Selected collections include MOMA, NYC; School of the Art Institute of Chicago; Boston Athenaeum; Queen Sirikit Center, Bangkok; Herbert F. Johnson Museum of Art; Harvard University Art Museums; ARC, Dhaka; Boston Public Library Print and Drawing Collection; Boston Globe; and the Sackner Archive of Concrete and Visual Poetry. She has written reviews and articles including the 2002 Art New England article, "Light on Water: Being an Artist in Bangladesh;" and "My Ticket to the White Rooms;" poetry and op-eds. She is the author of "Iron and Molasses: An American Artist Reflects on Natural Color" (2008).