Breadth of Skills

Sara has a rich bank of skills to draw on, and a good knowledge of teaching practice. She is passionate about her subject and known to be very flexible in her practice.

“ I have always had a compulsive need to explore different specialisms – I think this is a reflection of my desire to teach. I was collecting the skills I needed. I am passionate about teaching. I want to see children grow up with an open-ness to art and their own creativity.”

Her knowledge covers a wide area and has real depth in 2D/3D, however there are few areas that she hasn’t touched on in her time as an artist /designer. From felt making to hot (cast) and cold (stained) glass to painting she has always been on a mission to learn more and challenge herself. She has a wealth of experience, and that is what you get when you employ her.

Sara has been taught painting by landscape painter Trevor Felcey and Dartmoor colourist Paul Diffey. Her observational painting reflects their influence. Her more personal Paula Rego – esque “metaphor series” developed it’s visual language through looking at relationships and power structures.

She has also been commissioned for large scale projects see Okehampton St. James St. gable end mural. (see http://www.pbase.com/johnfr/okehampton_town 3d mural). Batson St. Finial - a piece of kinetic sculpture made in copper and steel in order that spinning areas would change colour after their installation, commissioned by architects Manson and Manson. Amphitheatre commissions, these came after having studied working in stone with Environmental artist Peter Randall Page.


Life drawing is a core part of her practice and a subject she really enjoys teaching. She has taught this on a variety of courses - at secondary school level, A level, Foundation in Art and Design, Access to H.E. as well as B.A. / degree level.

Recently an earlier love of printmaking has been coming to the fore. Her degree show in 1994 found Sara using photographic screen prints and natural light projections to meditate on academic knowledge and it’s relationship to the body. Recently lino prints and collograph have been a source of inspiration.


While she was studying at Glasgow School of Art Sara made an installation that examined one of the lesser known or forgotten inventors of photography, Wilhemina Von Wunch. This installation was situated in a room in a clock tower at Glasgow University and the sound of the clock mechanism dominated the space. She created a Camera Obscura that showed an image of the outside world caught in a bowl of flour, with a sand covered floor. The installation features a collection of recording instruments whilst none of the recording are fixed. Stacked on one wall are metal (financial) minute boxes that contained smaller light sealed boxes. Inside these were placed unfixed photographs.

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