With a Bachelor’s in English Literature and a Masters of Fine Arts in sculpture from the University of Colorado Sarah M. Timberlake has the background to be a poet, a sculptor, a photographer and a painter. She started her art career as a photographer and sculpture but transformed to painting to allow her to more quickly express her thoughts and ideas. Sarah Timberlake’s abstract works are like a two dimensional sculpture in which she explores texture, line color, motion and emotion as a sculptor would do.
Using mixed media of acrylic, oil, graphite, charcoal she lays marks on paper to create lines that build to tell a story. Her series of “House Storms” and “Small Dark Rooms” which are abstract paintings on paper have the immediacy of her gestures recorded by marks on paper conveying the importance of how she is responding to the world around her. Although the work is abstract each pieces contains images that evoke the title of the work with images of house in the House Storms series and rectangles representing rooms in the Small Dark Rooms series.
Timberlake was born in New York but raised in Colorado where she continues to live. Her works have been selected for several Bemis auctions and is in private and corporate collections in the Omaha area as well as nation wide in private, public and corporate collections.
University of Colorado, Boulder, CO, MFA Sculpture
School of the Museum of Fine Arts, Boston, MA
University of Colorado, Boulder, CO, BA English Lit/Writing
Mills College, Oakland, CA
2013 Art Section Panel, City of Denver Public Art Project, Columbus Park, Denver CO(pending)
2004 –2006 Board of Directors, Colorado Photographic Arts Center
2000 - 2003 Represented by Ron Judish Fine Arts
1998 Award of Merit, Colorado ‘98, Colorado Springs Fine Arts Center, Colorado Spgs.,CO
1991 NEA Sculpture Fellow, Western States Arts Federation/ NEA Regional Fellowship
1989 Doctoral/MFA Candidate Fellowship, University of Colorado Graduate School, Boulder, CO
1989 Thesis Grant, University of Colorado Graduate School, Boulder, CO
1988 Dean’s Award, Project Funding, University of Colorado Graduate School, Boulder, CO
2012 Bemis Center for the Arts, Omaha, NE
2011 Bemis Center for the Arts, Omaha, NE
2010 Bemis Center for the Arts, Omaha, NE
2007 All in the Family, Republic Plaza, Denver CO
1997: Selected Works, Zip 37 Gallery, Denver, CO
1996: Some Gallery Artists, CSK Gallery, Denver, CO (monoprints only)
1995: Monotypes, CSK Gallery, Denver, CO (monoprints only)
After much time spent as a photographer and installation artist, I wanted to begin making work that was more direct, more visceral. I turned, in around 2006, and after many years away, to painting and drawing, beginning my exploration of making marks on paper. I wanted to remove “the disconnect” I felt between myself and the work I was making as a photographer, wanting to make art that was more immediate and less contrived. I wanted to work more immediately than I did as a sculptor. These pieces started as just experiments, just to see what I could do with brush, paint, oil stick and paper.
I am trying to make things that are incoherent present, visual. I end up chasing the lines I start with; I work in series, usually 3-5 pieces at the same time so the energy can flow between pieces. Immediacy is important. Working on paper with paint and oil stick is a key to this, as there is no turning back, no erasing or rubbing out; you’re committed to the image you’re starting or you have to rip it up and start again. Loving the act of making these often shows on the work – particularly in the very spare pieces on just lines and marks.
The “Disasters Aftermaths” pieces came out my correspondence with an artist/writer friend of mine (I’m one of his editors), and our discussions of stories and how to tell them. I wanted to try working in a whole new way – messy, layered, more thought out – with a story in mind as I worked. Unfortunately (or fortunately), when I started these, much was happening around me that affected me personally– storms, tornados, fire, war – and so those are the stories these tell, of the aftermaths, of the survivors.
I work varyingly both ways – the “…Aftermath” series will alternate with the pure abstract work, depending on my headspace.