Solo exhibitions include:
Open Studio, Wimborne, (part of Dorset Arts Weeks) 02/2004
The Brompton Gallery, Southampton 1999
St Botolph’s Church, Aldgate, London, (part of the
City of London Festival of Arts) 1998
East Dorset Heritage Centre, Wimborne, Dorset 1995

Mixed exhibitions include:
The Primrose Gallery, Northampton, 2004
Tim Andrews Gallery, Woodbury, Devon 2004
The Hayloft, Christchurch, Dorset 2004
Fisherton Mill, Salisbury, Wiltshire 03/2004
Art on Paper Fair, Royal College of Art, London 03/2004
Affordable Art Fair, Battersea, Bristol, London 02/03/2004
Wessex Fine Arts, Wareham, Dorset 2003
Salisbury Playhouse, Salisbury, Wiltshire 2003
Artcare, District hospital, Salisbury, Wiltshire 2003
Wills Art Warehouse, Fulham, London 02/2003
The Bristol Art Fair, Bristol 2003
The Four Seasons, Wimborne 01/02/2003
Rostra Gallery, Bath, 2002
The Handel Gallery, Devizes, 2002
The Gallery, Dorchester (SCA) 2002
The Mariners Gallery, (A Bunch of Fives) St. Ives 99/00/2002
The Postcard Exhibition, (SCA) Sherborne 2002
Wessex Fine Art, Wareham 2002
Bridport Open, Bridport 01/2002
Sherborne House, Sherborne (SCA summer prog.) 2001
Aspects of Art, Bournemouth 2001
The Orchid Gallery, (Good Impressions) Lymington 1998
National Print Exhibition, Mall Galleries, London 1998

Having specialised in printmaking at college, Sarah finds the diversity of this medium perfectly suited to her temperament, requiring a methodical yet creative nature. Describing herself as a pure printmaker, Sarah has played with a range of other media but feels that the specific qualities of print, the definition of its processes combined with the potential for spontaneity and mark-making, allow her the best opportunity to explore her interest in the ambiguities of vision. Concentrating on the rhythms and patterns of connecting parts through still life and landscape, she attempts to capture the complexity of spatial awareness.

Sarah has worked through a variety of printmaking techniques including etching, lino and screen-printing but has recently taken to working almost exclusively with collagraphy. This technique requires the construction of a collage block using applied materials such as corrugated card, fabric, tissue and salt. Once the block has been sealed with varnish it can be inked up and taken through a press to produce highly textural prints. The nature of this process limits the reproduction to small hand-inked print runs of around 10-20.

In her latest series’ entitled Textural, Sarah pushes this technique to its limits combining the use of multiple blocks and overprinting with a vibrant handling of colour to create beautiful yet intriguing pieces. With a love of experimentation and the infinite potential of this print technique her work is constantly evolving.