[pixel]SPACE

About me:
When Sara Fricke was growing up, a box of pencils, markers, or crayons was her favorite past-time. Every afternoon she’d run to
the computer printer, grab a piece of paper and then a pencil and sit down to watch a popular television show what was then known as
Mark Kistler’s Imagination Station. After many years of experience and love for art, she found a strong passion for the human figure.
Today she is best known for her delicate style and sense of realism in her figurative work.
Her recent works explore brain chemistry and unstable state of mind. She is deeply interested in psychology and elements of the
mind that are not seen with the naked eye that affect moments in our lives. Sara graduated from Kendall College of Art and Design
in May of 2014 with a BFA in Drawing. Sara plans to exhibit more artwork and someday work for a gallery space while continuing to
thrive as an artist. Sara enjoys playing tennis in the summer sun, playing the piano and enjoying time with friends and family.
Sarah Fricke ©
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About my art:
I
sometimes struggle with my emotions. I struggle with
rationalizing and controlling my emotions. I poke and
prod for explanations I can’t see or know. Why do I feel
this way? Do I really have control or do my emotions
control me? This question has led me to further examine
the brain’s basic chemical functions and the impact of
chemistry on our emotions.
In this collection of work, charcoal pencils, charcoal
powder, and ink are the primary materials used to create
stark contrast in the human figure and its environment.
This stark contrast mirrors positive and negative emotions.
Light refers to happiness as dark refers to sadness. I use
these materials to portray the universality of the figure as
it represents a particular state of mind.
The surface I work on has allowed me to develop several
new processes using additive and subtractive techniques.
Mylar is my primary working surface. Charcoal pencil is
applied over the powder and a kneaded eraser is used to
manipulate intended marks to create form. These marks
structure highly rendered areas of the composition.
Unintended marks, abstract in nature and a result of my
process, introduce unexpected but authentic elements.
Most intended and unintended outcomes cannot clearly be
separated within my work, which leads to the question of
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