Sarah Vines

Slowly It Is Becoming Our Home, Our Ritual Place

Still Life is a subject with a long history, but one that for hundreds of years was considered low art. Originally still life studies were devices for training artists, then they became mass produced for newly wealthy merchants, who wanted them to display as evidence of their success. This is where the trope of a cut lemon appeared, as lemons were expensive, much like the pineapple motif you see in a lot of Victorian architecture.

I approached these themes with the intent of presenting a modern, more accessible interpretation of classical still life. I replaced traditional objects with their contemporary versions. I chose easy-peel oranges instead of knife cut lemons, and included the pomegranate sticker as reminder that it all came from the supermarket.

Three Spaces, Three Places: Flora + Lu, Rin, Lina + Sam

A triptych of 9 layer screenprints depicting portraits of people living in and around London. This series explores modern day 'home' from a range of living situations, exploring similarities and differences across themes of sentimentality, objects of importance, sensory stimuli, and what makes their space feel like 'home'.

I went to each subject’s residences and by their lead chose a room to depict. I drew objects that they had decorated the room with, and in some cases had gathered to present to me. I also found my own items in the room which may have been overlooked by their owners, but were clearly integral to the space and their identity. I sketched and photographed these objects and rooms as well as drawing portraits of my subjects in relaxed positions led by them.

As well as gathering visual records, I also recorded an interview with each subject. They were asked 11 simple questions about their space and home situation, and I used this to inform each print. 

Room: A Myriorama of Interiors

A Myriorama is a children’s card game popularised in the 19th century. The player arranges and re-arrange cards into endless interlinking scenes, allowing them to build their own story.

I developed a scene of an impossible interior, where depth and perspective is questioned, and included uncanny elements such as a single shoe on the ground, an open umbrella, broken vases, and furniture placed in ways that don’t make sense.

This game was also made to poke fun at the way that modern interior design is often presented in magazines. To make the photos more interesting, photographers put objects in strange places, such as a large vase of flowers in the middle of the kitchen floor, or a bright green satchel that appears in the background of every shot. Not only does this add a strangely absurd element to these otherwise perfectly planned and manicured homes, it often renders the space unusable.

My humanity is a site of discourse.

I empower myself by choosing to make.

My work, my craft, is an act of defiance.

When I choose to use my muscles in the act of making, I am telling a story of myself.

By making work I declare my presence and my voice.

By perpetuating my craft, by focussing my thoughts and my body, by living in mindful confidence, I declare that I am a catalyst.

I declare that my acts of daily life are political.

I declare that my acts are powerful.

I declare that my movements are my expression.

I declare my space as mine.

I will peel myself open and I will savour the fruits of my labour.

I will allow the creature that is me to solidify and change.

I will open my chest and bear myself fully.

I will recognise and be empowered by my strengths and weaknesses.

I will give myself time.

I will think, I will feel, I will act.

I will be gentle.

I recognise that I am not finished - I am yet building.

I recognise and celebrate that I will never be complete.