Here is my slide presentation about pivoting from painting into quilting as a full-time creative practice.
Click here to download the PDF (about 5 MB).
Many thanks to the Mid-Del Art Guild for having me as their guest presenter!
Cheers! Martini: Head Clog II
Martini: Head Clog II. Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee. $1,080
For purchase inquiries, contact Cerulean Gallery at 214.564.1199.
This post first appeared on my Patreon page.
I would like to thank the fine folks at Cerulean Gallery for hosting my paintings these last few weeks; I’m honored to be working with you. I would also like to thank my Patreon patrons for your ongoing support – you guys are the best!
Martini: Head Clog II (Detail view 1). Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee.
Remember that first head-clogging Martini? Here's round two.
About the Glitch Series
In the Glitch series, I use vibrant acrylic paintings to reimagine traditional still lifes for the digital age. My recent compositions combine tempting, succulent foods with "glitches" painted directly onto the canvas. An avocado is interrupted by the irregular curves of a cracked screen. The natural beauty of an heirloom tomato is marred by low-resolution errors and broken pixels.
Historically, still life paintings are windows onto impossibly perfect worlds. This illusion of perfection continues into our daily lives on the Internet, as we live from one Insta-worthy moment to another. Why not use the flaws of online technology to break into that illusion?
Martini: Head Clog II (Detail view 2). Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee.
Thanks to everyone who came to see the show!
Want to stay up-to-date on my newest exhibitions? Hop on over here and sign up for my email list. You can also follow me on Facebook, Twitter, Instagram, and Pinterest.
Sushi Sampler
Sushi Sampler. Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee. $910
For purchase inquiries, contact Cerulean Gallery at 214.564.1199.
This post first appeared on my Patreon page.
About the Glitch Series
In the Glitch series, I use vibrant acrylic paintings to reimagine traditional still lifes for the digital age. My recent compositions combine tempting, succulent foods with "glitches" painted directly onto the canvas. An avocado is interrupted by the irregular curves of a cracked screen. The natural beauty of an heirloom tomato is marred by low-resolution errors and broken pixels.
Historically, still life paintings are windows onto impossibly perfect worlds. This illusion of perfection continues into our daily lives on the Internet, as we live from one Insta-worthy moment to another. Why not use the flaws of online technology to break into that illusion?
Last week to see the show!
Sushi Sampler is available at Cerulean Gallery as part of the exhibition On Edge Part I, featuring work by Sarah Atlee, Fritz Danner, Nic Noblique, and Victoria Taylor-Gore, on display 16 September – 28 October 2016. Visit Cerulean Gallery to learn more.
Avocado: Cracked
Avocado: Cracked
Acrylic on canvas, 18 x 18 inches, 2016 by Sarah Atlee. $910
For purchase inquiries, contact Cerulean Gallery at 214.564.1199.
This post first appeared on my Patreon page.
Okay, show of hands: Who's reading this on a cracked screen?
We've probably all been there, felt the cold pit in our stomachs as we realize a careless moment has just sent our hard-earned cash down the drain (in the form of a gadget). It sucks.
But there's an upside.
Have you ever looked at the fascinating patterns and semi-random (but beautiful) shapes created when an LCD screen breaks? A little Google Images search will show you what I mean.
I applied this same concept to the Tamales painting, with a slight difference in technique. Often when I'm painting stripes or other strict geometric shapes, I'll employ masking tape and clear acrylic medium to attain those precise edges. With Avocado, however, I decided to paint the stripes in by hand.
The process required a steadier hand, but I found it delightfully meditative and spontaneous. I love the spots where one area of wet paint bled into another, or where my hand shook just a little. I left these "mistakes" in because I never want you to forget that you're looking at a painting.
Every avocado has its own unique shape and texture. Every hand draws a line a little differently from all the other hands in the world.
Avocado: Cracked is available at Cerulean Gallery as part of the exhibition On Edge Part I, featuring work by Sarah Atlee, Fritz Danner, Nic Noblique, and Victoria Taylor-Gore, on display 16 September – 28 October 2016. Visit Cerulean Gallery to learn more.
All Roads Lead Home
Turn Left for Tamales
Acrylic on canvas, 20 x 20 inches, 2016 by Sarah Atlee. $1,080
For purchase inquiries, contact Cerulean Gallery at 214.564.1199.
This post also appears on my Patreon page.
I would like to thank the fine folks at Cerulean Gallery for hosting my paintings these last few weeks; I'm honored to be working with you. I would also like to thank my Patreon patrons for your ongoing support - you guys are the best!
Want to get art in the mail? Here's where you go for that.
Home. It's a nebulous concept. Is it the place you're from? Where you live now? Some intangible combination of everywhere you've been?
I grew up in Albuquerque, New Mexico. They don't call it the Land of Enchantment for nothing; it's a place that stays with you. And nothing tells you that you've come back quite like a plate of hot, home-cooked tamales.
Turn Left for Tamales is inspired by the food I ate last time I was at Ghost Ranch, another one of those places that really gets into you. Just like our memories, the image is fragmented, distorted, seems to bleed around the edges. Like the idea of home.
I'm living in a different place than I was when I started the Glitch series. I'm in Oklahoma now, the place where I was born, the place where I will always be able to go. I didn't know how much it would feel like home until I came back. I don't know what home is right now. I'm looking for it inside myself. But I know I'm on the right road. I can smell the tamales.
Turn Left for Tamales is available at Cerulean Gallery as part of the exhibition On Edge Part I, featuring work by Sarah Atlee, Fritz Danner, Nic Noblique, and Victoria Taylor-Gore, on display 16 September – 28 October 2016. Visit Cerulean Gallery to learn more.