Through various mediums including painting and instillation Sarah Hollars explores where one’s collective knowledge ends and a personal history begins. This exploration is conducted through the reanimation of divers memories from the artist’s life that at first seem intensely intimate, but reveal themselves as shared by a larger public. Most recently Hollars has shown her work at the Church of St. Paul the Apostle, and the 2012 Brucennial. She has received the Richard Marinin Kaye Award, Honorable Mention for the C12 Emerging Artist Grant, and the 2011 Hunter College Fellowship.
Travel plays a key role in Hollars' life and creation processes. In 2011 Hollars biked from Prague to Dresden along the Elbe River. The unconventional introduction to the Czech Republic, its culture, and its Art brought Hollars to more fully examine the role of myth, fairy tale, and history on the formation of memories and the development of meaning. In 2012 she traveled to the small village of Cape Dorset in Northern Canada to learn from the amazing artists in the area that use very personal imagery in their compositions that have a prfound affect on those who have never been in the area or have little to no prior knowledge of the Inuit culture and history. This research led to a body of work focused on a specific highly personal idiosyncratic vocabulary of images that explore the tenuous relationship between individual and public memories.
Hollars grew up in rural Southeastern Oregon, has lived in London, Rome, and Berlin and presently resides in Brooklyn New York. She received a B.A. in Interdisciplinary Art from the University of Washington Seattle, a B.F.A. in painting from the University of Oregon Eugene, and an M.F.A. in painting from Hunter College, New York, New York. Currently she teaches at Hunter College as an adjunct faculty member.
My work consists of small mixed media drawings on vellum and large oil paintings on canvas. Each piece stems from the question: “Where does the singular experience/memory stand in relation to the universal?” I cull imagery from deeply personal memories as well as public sources including the internet and print materials. Animals, houses, pattern, the female figure, and highly saturated/desaturated hues coalesce as the individual and common are woven together on the page. Treated with equal weight, images originating from both the shared and the private are forced to take part in the creation of an alternative dialogue with history and meaning where the collective is not privileged over the individual or vice versa.
b. 1983, Lakeview, Oregon
Lives and works in Brooklyn, New York