paintings for power, beauty and transformation

Bio

Sarah SpecctorA great collector said that underneath any American abstraction, you’ll find a landscape. These abstractions come out of light and landscape.

I’m inspired by the horizons and seas I’ve moved into, and that have moved into me.

I lived in the Mediterranean for years, and California for 20–watching the light play off the landscape and ocean.

The images I make are as much the result of building as of seeing. The horizon lines make expanses like skies meeting seas or fields.

I like to think they inspire dreaming: Light resonating like burning bushes…deep, bright, ethereal. For me, making art affirms light and dark, the senses, and Dreaming.

I have been told that my paintings are “like Buddhist thangkas.” (A painted or embroidered Buddhist teaching tool). I also work as a healer.

 

Education

MFA, The American University, Washington, D.C.

Auditeur Libre, Painting, Beaux-Arts, Paris, France

Painting, Villa Arson CNAC, Nice, France

Painting, Filmmaking, Animation, Drawing, SMFA Boston, MA

 

Exhibitions

San Geronimo Community Center, San Geronimo, CA

John McEvoy Gallery, San Francisco, CA

The Robert Beck Gallery, San Anselmo, CA

Marin Open Studios, San Rafael, CA

furniture.It, San Anselmo, CA

San Luis Obispo Art Center, San Luis Obispo, CA

Mad River Post, San Francisco, CA

Marin Arts Council Juried Show, Mill Valley Community Center

The Asian Aesthetic: Interpretations, Bradford Gallery, San Francisco, CA

AIDS Benefit, 250 Sutter St., San Francisco, CA

Northern California Juried Exhibition of Works on Paper, Bolinas Museum, Bolinas, CA Juror: John Berggruen, Berggruen Gallery, San Francisco, CA

W.C.A. Membership Show, Soquel, CA

The Art League, Santa Cruz, CA

New Women’s Art Gallery, Santa Cruz, CA

Poets and Painters, Carl Cherry Center for the Arts, Carmel, CA

Anton Gallery, Washington, D.C. Juror: John Figura

Greater Reston Arts Center, Reston, VA

Art Barn Gallery, Washington, D.C. Juror: Chris Addison, Addison-Ripley Gallery, Washington, D.C.

Painting ’90, Juror: Charlotta Kotik, Curator of Contemporary Art, Brooklyn Museum, Brooklyn, NY

Emerson Gallery/McLean Project for the Arts, McLean, VA

Susan Conway Carroll Gallery, Washington, D.C.

Watkins Gallery, The American University, Washington, D.C

Kreeger Auditorium, Washington, D.C.

Village Voice Gallery, Paris, France

La Degustation de Moissy, Pré-St. Gervais, Paris, France

Marin Arts Council, San Rafael, CA

Crome Architecture, San Rafael, CA “40 Paintings”

East Bay Open Studios, Richmond, CA

Church of Aesclepion Healing, San Rafael, CA,

The Black Box Gallery, Oakland, CA

Culture Centre MJC, LES SALVAGES, Castres, France

The Pope Gallery, Santa Cruz, CA

Dumbarton Concert Gallery, Washington, D.C.,

 

Other

Lecturer/Docent 20th Century Art: SF MOMA, The Phillips Collection, Washington, D.C. 1987-1988 Lecture in French and English, on 19th and 20th century collections.

 

Specialties

 

I grew up sensing a connection with mystical and plant realms. This later branched into the clairvoyant reading and healing that I do now. The process brings awareness to the individual and the collective field, and supports the recognition of “what is”on a deep level. My practice is to translate the sublime and deeper presence and movements within and beyond the physical world.

From an early age, making art, I was fascinated by the line and circle juxtaposed. Later, I was informed that this was a “Tantric” theme.

In my paintings, transformation is made visible through layers upon layers of glazes and pentimenti – of light – that document and invite multiple seeings-through. As in psychic perceiving, they are opportunities for the unseen to come into visibility.

25 years ago, I began painting non-objectively, using mostly collage and paint on paper. Later I worked on wood, then found materials, and was inspired by self-taught artists. I like the pentimenti and layers, scrapings, undoings and refinements that reveal the process of making the piece – and how light comes through contrasts and varieties mixed and pure, brilliant and subtle hues – as in nature. I share a birthday with Richard Diebenkorn, who was a big influence.

At times, I have also used wax and encaustic on canvas, wood and paper.

My paintings are described as “Jungian”, “shamanic”, transformational”, “Tantric” and “like gazing at Buddhist Thangkas”.