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sarah hinckley

Page 1 | Biography


velvet side of midnight
velvet side of midnight
My work is inspired from growing up on Cape Cod surrounded by color fields of water, marsh, beach and sky, AND Rothko, Agnes Martin, 60ís formalist color field painting and the method of Monetís late paintings.
natures sprawling
natures sprawling
Recent inspirations come from walks taken behind my parents house in Barnstable, on Chapin Beach in Dennis at low tide, riding the subway in New York, seeing the color someoneís jacket, while out in nature or falling asleep at night and thinking about all the projects I am working on in my studio.
more than a feeling (1)
more than a feeling (1)
just holding back
just holding back
lost myself to this song (1)
lost myself to this song (1)
I approach painting intuitively, constantly adjusting as clarity comes; most of the works take a few months to complete and some remain in conversation for a year or more. Certain elements can remain unresolved for extended periods of time and then the process slows, reminding me of the virtue of patience. I incorporate two approaches while working; one, editing; the second, writing out ideas and inspiration in a painting journal. The journal is important because I am not always able to work on an idea right away because oil paint needs to dry or other life commitments arise. I develop the color fields by putting down marks and editing them in or out depending on how I see it. This process of editing allows me the opportunity to continually be searching, whether it be a new direction or idea or a new color relationship.
looking for some grace (2)
looking for some grace (2)
Mapping out ideas and inspirations from my world, bringing it all into the studio challenges me to remain present, aware, and open to all the possibilities that are happening with materials before me.

Massachusetts
North America



Web Links
sarah hinckley
littlejohn contemporary
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