My paintings, often executed in low-lit, moody colors, are filled with bizarre figures, interacting or inhabiting solitary scenes with other unnatural presences, absences, and transpositions. I paint on old book pages and smooth sanded wood remnants, preferring the polished texture of things with lost histories. My intimately sized oil paint compositions often refer to disturbing and deceptive content and lend themselves to ambiguous interpretation. Surrounded by collaged wooden frames, these works are often figurative and a bit fabulist. For me, painting is a way of thinking through sight, and I am inspired by the indirect histories I find in literature and libraries. Object making is my way of rescuing short poems from permanent invisibility.


Collision Between Two Good Sized Galaxies 

Collision Between Two Good-Sized Galaxies, Digital Collage. 

Sarah Zar has a small art poem book called Riddled With Spots coming out this summer, and a much larger curatorial book is in progress. Her next body of work is a combination of installation, projection, paintings, and psychological amulets that deal with new stories to process the historical shifts taking place in our time. The project deals with oracles, evacuations, trauma, and the roles of deception and imagination in healing.