Sarah Jack - Artist

My artwork usually begins on a board which gives me the scope to both carve lines into it, which isn’t possible with a canvas, and also to mis-shapen it if I wish.   Then I start to layer up the textures, overlapping torn pieces of paper and fragments of card, using pastes, gesso, cotton, wire, string or nails to make each piece work.  I love getting lost in the texturing process, aiming to create an intriguing surface full of feeling, movement and hoping to evoke an emotional experience in the viewer, through how the materials fall on the board, both intentionally and through happy accidents. At some point I might then rip off certain textures which can add further depths, cracks and crevasses and add to the expression of the piece.  True life news clippings or accounts of lives from parish records from the 19th century might then be woven in amidst the layers.

I like portraying  old, weather-worn, isolated and derelict cottages, farms or outbuildings using textures to capture the scene.    My aim is to put into my art the deep experience we have when we are absorbed by something so moving and captivating - a something we cannot put into words as it does not do justice to the experience we are having. Overall my intention is to put into my pieces, feelings we have when we see beauty in nature and in our history, crumbling plaster and the traces of peeling paint inside a dilapidated farmhouse past repair, a collapsed roof of an old, abandoned cottage that has it's rafters exposed or an old, tumbledown dry stone wall where the remains of the building nearby can barely be traced under our feet.

I'm inclined towards a mix of media, acrylics or inks, before bringing the piece together with the use of oils.  This process creates the depths and ages my artwork, with textures being revealed from underneath the pigment.  I use a limited palette when it comes to colour, very often inclined towards blues and browns.   I  also like to experiment with the effects that wire, scraping, wiping and sanding can have on the mood of a piece often using my hands, rags or spatulas rather than a brush.

With my earlier figurative work I enjoyed capturing the body as if it were a landscape.  Then I began to experiment with deeper textures and thus began my run-down harbour scenes and seascapes, which evolved into old mills and factories.   Of late, I find myself drawn towards dark and moody landscapes with  isolated cottages and farmsteads and with this a slight return to my earlier, less deeply textured pieces.

My artwork has been displayed in many galleries around the UK over the last decade, but at present will be found around the south west of England, at the Steam Gallery, in Beer, Devon, the John Noott Gallery in Broadway, Cotswolds, Worcestershire, Bell Fine Art, Winchester, the Wren Gallery in Burford, Oxfordshire, the Gallery in the Square, Poundbury, Dorset and the St.Mawes Gallery, Cornwall.  Every two years, I open my studio to the public during the Dorset Art Weeks, which are held at the end of May, the next one being May/June 2020.  My work can also be found at the Affordable Art Fair in Battersea in October and the Fresh Art Fair in Cheltenham in April, every year.


Semi-scuptural artwork with texture and emotion.


My artwork is deeply textured with stories or articles from early newspapers woven into each piece.

Tunnels and Passages

Coastal Villages


Sailing off Portland




Alum in the Flour 2.jpg