Sarah Graham

Overview
View works. Sarah Graham, Salvazana Imperialis, 2012
Salvazana Imperialis, 2012
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Sarah Graham was born in Edinburgh in 1973. Between 1992 - 1996 she completed two MA's at Edinburgh University and Edinburgh College of Art in History of Art and Fine Art. From 1994 - 2005, she travelled across the world drawing and painting in Australia, Turkey, Cape Town, China, Pakistan, Kyrgystan, Tajikistan, California and Long Island, USA. In 2001 she rode across Central Asia with a travel writer and made a film that the Discovery Channel bought called "Beyond the Mountains of Heaven" and co-wrote the book "Silk Road, Troubled Dreams". Natural forms and the plant world provide her main source of inspiration. She now alternates between walking, collecting natural specimens and drawing from life in her studio.

 
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Works
  • Sarah Graham, Medinilla Magnifica IX, 2018
    Sarah Graham
    Medinilla Magnifica IX, 2018
    Ink on paper
    72.44 by 53 inches (184 by 135 cm)
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  • Sarah Graham, Salvazana Imperialis, 2012
    Sarah Graham
    Salvazana Imperialis, 2012
    Lithograph
    48 5/16 by 86 3/16 inches
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  • Sarah Graham, Scorpion, Heterometrus sp.
    Sarah Graham
    Scorpion, Heterometrus sp.
    Ink on paper
    61 by 45 inches
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Biography
Sarah Graham

“The plant kingdom is a form of constant mystery and means of self-projection for me, a search for the spiritual meaning in Nature. Exploring on foot, I gravitate to strong, architectural forms, often imbued with a sense of metamorphic meaning, anything that Nature throws up or has left along her way.

Focusing in or enlarging these finds permits me to paraphrase them into ‘abstract’ motifs. By distilling these basic forms, I hope to capture the esoteric and elemental force within, so much so that a plant returns to the protean act of creation and it’s essence and design are re-invoked.

Working in pure charcoal or graphite emphasizes this concentration on form and line, whilst more descriptive mediums of colour and paint lure me away from this vision. Executing the drawings within the studio, away from the original source, allows me to bestow it’s parts with an individual figurative detachment and suggestiveness.

This intensive scrutiny, often on a very large scale, of orchids, irises, seed-pods, bones and so on, reveals a universal language of form; both infinite and inspiring.’’

 
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