Simply put, my work is about life. I am interested in the emotions and commonalities people share, and I am constantly amazed at how even the most mundane event or feeling can become supercharged once transferred into object form. I use the drama of our experiences to explore both the light and dark cycles of life: birth, death, union, separation, redemption, and so on– the good, the bad, and the beautiful.
In school, Sara specialized in metalsmithing??? Let’s talk about why that was an outlet for her talents, what she got out of it and how that affects who she is today. Six points, in her own words:
- Power. In metal, I can make anything I can imagine.
- Humility. The design process associated with hand working metal is slow and technically challenging. Just when you think you are a rockstar, it will knock your ego down a few pegs, because screw-ups happen. You have to overcome those through blood sweat and tears, or creative thinking.
- Design sensitivity. I pay attention to everything, especially relating to visuals, touch, and sound. If a better solution comes up during the creation process, I am sensitive to that and can chose to go with it or note the innovation for the future.
- Brain health. Craft involves your physical body and your imaginative mind. I am pretty good at logical and analytical processes as well as those emotional and artistic. I’m not a one-sided person anyway — I was always good at managing money AND have also always been an artist. The peaceful state of doing mindless tasks (filing, planishing) is kind of fun too as you get more ideas literally while you are working. I understand plasticity thoroughly in metal, and think it is a pretty cool concept for the brain as well. Something to study…
- Immortality. Well not quite, but my metalwork will out live me. It’s durable enough, and there is a good chance that the ROM and the City of Ottawa won’t sell, lose, or melt down my pieces in their collections, at least while I’m living. It’s only polite. If you snag a book I’ve been published in, some visuals live there too. Here are some publications: 500 Metal Vessels; Craft Perception and Practice Volume III; 1000 Rings; 500 Brooches.
- Fullness. I do not produce a lot of pieces. That does not make me sad — it is by design. How many tiaras, sculptures, and chalices does the world need each year? Seriously. The pieces I make WANT to exist, or someone wants them to exist. And if the pieces do not, I return them to the raw state, where creation can begin.
Sara keeps her art as art, and approaches it differently than she does business and consultancy work. Her policy since 2009 is to exhibit only in shows that pay artists fees, and/or that are invitational. Her commission policy is to only accept commissions from highly committed individuals or organizations, ones with a sufficient budget, adequate lead time, and a project that interests her. You approach her, and she will consider your proposal. Apologies in advance if your project may not work with her, and do not take it personally.