SARAH WRIGHT STUDIO
COLLABORATIVE INVESTIGATIONS OF PERMANENCE, PRESENCE, AND COMMUNITY
CERAMIC ARCHIVES
Vintage garments are transformed into permanent ceramic records through pressing and firing processes that examine what deserves permanence in a culture that doesn't value long-term relationships with clothing. This process preserves intimate details of construction and wear patterns while questioning how we assign value to everyday objects. Each piece investigates the tension between disposability and preservation, creating archaeological artifacts from garments once designed for daily use.
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ARKHE OBJECT
In this series, illuminated ceramic sculptures emerge through a practice of surrender, where clay is released to gravity to find its form through letting go. Each piece incorporates site-specific materials gathered from travels and local environments: volcanic ash from Iceland, sea glass from Mediterranean shores, and elements discovered in New York's urban landscape. This foundation of happenstance gives every creation its distinctive character and organic presence. The name honors Arkhe, the ancient Greek concept of origins and first principles, celebrating the space where intention meets chance. These numbered, one-of-a-kind objects transform diverse materials into sculptures that bridge art and function. Unlit, they stand as records of creative process and geological time; illuminated, they breathe with their surroundings, casting evolving dialogues between material, light, and space. The work investigates the threshold between sculpture and utility, allowing light and shadow to become active participants in the environments they inhabit.
Fragments of ResPonsibility
Exploring the link between creation + accountability in ceramics, fragments of disregarded + destroyed works by other ceramicists are repurposed and reworked into questionably functional forms. Repurposing broken ceramics challenges a circular approach, prompting a re-evaluation of waste and a commitment to creative renewal. Each piece embodies a regenerative outlook + symbolizes both tangible + intangible responsibility.
LAYERED DRAWINGS
These drawings emerge through repeated sessions with the same models over extended periods, creating temporal palimpsests where multiple moments occupy single surfaces. Each piece accumulates traces of timed drawing sessions, layering past and present encounters until forms begin to dissolve into abstraction. The process simultaneously reveals and conceals collaborative relationships between artist and model. As figures overlap and intersect through repeated layering, the drawings become records of time spent together in creative exchange, preserving traces of bodies, gestures, and the evolving dynamics of collaborative making. This transparency of process, and strategic abstraction of traced figures over time, questions traditional boundaries between artist and subject, showing how both participants shape the work through their ongoing relationship.
SHE COPIED ME: CAMCORDER FOOTAGE
My sister and I hiked through Eldfell, we moved until we found a non-descriptive area to paint a landscape for each other on a fragile piece of glass. The exercise was to paint one another into the landscape utilizing the same method. We wanted to show the differences between us. Even after we verbalized a strict methodology, we wielded different results.
As your body moves through a landscape that you trace, you may realise your perception always changes. As I tried and tried again to paint my sister, she moved within the landscape, holding a camera, and as a result instead of drawing one of her, I drew multiples of her. This could show us that a human being can not grasp a landscape within a painting or reproduction, or even comprehend a body in totality by drawing a linear landscape, or taking a photograph simultaneously.
“Identity and resemblance would then be no more than inevitable illusions.”
Gilles Deleuze, Difference and Repetition