Sarah Cain
Autumn, 2008
Scarves, beads, acrylic, latex, gouache, string, bell, gel medium, tinfoil, turquoise beads, and gold leaf on paper
59 ¼ x 46 ¼ x ½ inches
150.5 x 117.48 x 1.27 cm
Untitled, 2008
Acrylic, watercolor, gouache, and ink on sheet music
Triptych
10 5/8 x 6 7/8 inches each
26.99 x 17.46 cm each
Bolinas Bedside (A Talisman for Dreaming), 2009
Acrylic, archival finish, feathers, museum wax on found stone
9 x 8 inches
20.3 x 22.9
Dream Weaver, 2008
Ribbon, gold foil, acrylic, gouache, watercolor, spray paint on sheet music
24 3/4 x 15 5/8 x 1 1/8 inches
62.9 x 39.7 x 2.9 cm
And if the mountains crumble into the sea, 2008
Latex, acrylic, gouache, tin foil, sheet music, beads and gel medium on
paper
Diptych
1: 10 3/8 x 10 3/8 inches (26.4 x 26.4 cm)
2: 10 x 10 3/8 inches (25.4 x 26.4 cm)
Untitled (losing the calm), 2007
Latex, acrylic, gouache, and sumi ink on paper
99 x 80 inches
251.5 x 203.2 cm
Rectangles, 2008
Scarf, crushed glass, oil pastel, acrylic, gouache, spray paint, and ink on canvas with spray paint extending onto wall
Canvas size: 59 x 52 x 2 ¼ inches (149.9 x 132.1 x 5.7 cm)
Installation size: 87 x 88 inches overall (221 x 223.5 cm overall)
Hello, Goodbye, 2008
Left: Fake flowers, latex, acrylic, silver leaf, thread, and cardboard on canvas
Right: Silver leaf, latex, fake flowers, chains, spray paint, and gel medium on canvas
Diptych
L: 25 x 5 x 21 inches (63.5 x 12.7 x 53.3 cm)
R: 25 x 5 x 21 inches + hanging chain (63.5 x 12.7 x 53.3 cm + hanging chain)
PRESS RELEASE
Sarah Cain: As if Only as Atmosphere
27 January – 6 March 2009
Opening reception: Friday, 23 January, 6 to 8 pm
Anthony Meier Fine Arts is pleased to announce an exhibition of new work by Los Angeles artist Sarah Cain. Exhibiting at the gallery for the second time, Cain continues to explore the boundaries of painting and two-dimensional presentation.
Cain’s work is marked by fluidity between media that creates a nuanced layering. In both works on canvas and on paper, Cain makes adept use of mixed media and collage, seamlessly integrating scarves, beads, doilies, ribbon and crushed glass onto painted surfaces. This layering lends itself to constant visual discovery.
In contrast to the practice of embedding elements invisibly into the body of a piece, Cain also integrates components onto the surface of her work. Chain link, faux flowers, aluminum foil, cardboard construction and spray paint extension are all overt and expressive additions put to use in Cain’s oeuvre. The effect is eye-popping, loud, sometimes irreverent.
The seemingly discontinuous elements of Cain’s work - the relationship of what is easily seen to what is hidden, how transparency is marked or changed by the dynamic of a heavily worked surface – are the cornerstones of her success and expression.