Sarah Cain: Enter the Center
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Author: Cain, Sarah
Sarah Cain works on canvases of all sizes, modifying them by cutting and braiding, painting on all sides and installing the canvas backward. She uses vivid colours and shapes, and often includes found objects such as jewellery, pompoms, hula hoops and other items she has a personal attachment to. This volume features new writings and previously unpublished photographs, documentation and artwork with a focus on the last decade of Cain’s unique installations.Cain’s process often involves altering and disfiguring a composition until the original image is no longer recognisable. The creation and destruction of her paintings is part of Cain’s process that, in part, revolves around self-discovery. Cain describes herself as a feminist painter, using elements that are traditionally seen as feminine and 'girly' as an act of nonconformity and antipathy to the patriarchal hierarchies of painting. 'Almost everything about Cain’s paintings –their speed, their brashness, their noodling compositions, their splashes and spray-painted scribbles, their tacky accouterments, their sense of absurdity – seems to undermine the gravitas that large-scale painting traditionally projects,' wrote Jonathan Griffin in the New York Times.
ISBN 9781636810140. DelMonico Books/Tang. hb. 132 pages. 60 colour ills. 28 x 20 cm.
available
Sarah Cain works on canvases of all sizes, modifying them by cutting and braiding, painting on all sides and installing the canvas backward. She uses vivid colours and shapes, and often includes found objects such as jewellery, pompoms, hula hoops and other items she has a personal attachment to. This volume features new writings and previously unpublished photographs, documentation and artwork with a focus on the last decade of Cain’s unique installations.Cain’s process often involves altering and disfiguring a composition until the original image is no longer recognisable. The creation and destruction of her paintings is part of Cain’s process that, in part, revolves around self-discovery. Cain describes herself as a feminist painter, using elements that are traditionally seen as feminine and 'girly' as an act of nonconformity and antipathy to the patriarchal hierarchies of painting. 'Almost everything about Cain’s paintings –their speed, their brashness, their noodling compositions, their splashes and spray-painted scribbles, their tacky accouterments, their sense of absurdity – seems to undermine the gravitas that large-scale painting traditionally projects,' wrote Jonathan Griffin in the New York Times.
ISBN 9781636810140. DelMonico Books/Tang. hb. 132 pages. 60 colour ills. 28 x 20 cm.
available