On the surface, knitting is ostensibly an ordinary activity associated with the domestic sphere ….yet because knitting is so firmly associated within popular culture through its iconology and iconography, it is an ideal genre to exploit, manipulate and challenge’ (Turney, 2009, p80)

My practice has developed from a body of work exhibited at the University of Chichester in 2011 as part of my MA in Fine Art. The work can be read in many ways- the obvious materiality of a simple textile, the immateriality of the internet, microscopic views of organisms, examples of organic growth, repetition and seriality.

Light (and by definition, shadow) is a material to be worked with along with the more haptic experimentations. I see the work as standing between textiles, drawing and sculpture.…There is a simplicity to the work reflected by the simple materials used- wire, paper yarn, paper, aluminium sheets, Mylar, black/white ink and lights to create a unique environment in two or three dimensions.

Recently my focus has been to explore the concept of drawing in space: taking the drawings off the page, out of the frame and potentially into the viewer’s space in the gallery. The intention is that each work, each structure, whilst having the integrity to stand alone, is part of a bigger picture with no beginning or end. My structures are ‘unsafe’ in that they carry the potential to be pulled undone, deconstructed, re-made, re-hung, or they could be joined together by the loose ends which have unconsciously become a constant feature of the work. The work has a meditative feeling to it- embodying both quietness and a puzzle like quality, both when being made and for the viewer when exploring the continual line meandering in space.


Sarah Sepe: Artist’s Statement August 2014