Sarah Feinmann

Sarah Feinmann, Venetian Barrier (2019).

Venetian Barrier (2020), 76 x 45 x 98 cm, mostly found wood and composted linen towel

Obstruction given by Katie Tomlinson: Do not use the wall for support, but instead,

let the artwork ‘stand up for itself'


The other elements that I informed my piece were

What does the back of the artwork look like? 

As you work with found objects/plastics, your ‘recreation’ will look vastly different from the original - find freedom within this. 

Take up space!

Sarah Feinmann:

My obstruction is based on “Venetian Barrier”, which was made in response to my visit to Venice Biennale last year. In Venice there is a wealth of history and deterioration and I concentrated on documenting the dilapidated architecture and unusual apertures. In a mundane boarded-up space I could see the ends of terracotta pipes, which created an unexpected but classical decorative pattern. For this assemblage I used found weathered plastic that had been broken up by the sea, panelling from an old door and hand distressed fabric. 

The back of the assemblage revealed the distressed fabric stretched over a frame. The pattern on the hand distressed fabric had been created, by gluing it over a wooden egg tray, a process I often use to create a repeated impressed pattern in the material. In this case, I had placed coins in the holes, to emphasize the pressed-in shapes, which had turned into green circles as it dried.

A broken chair provided the starting point, for this sculpture and as it was deconstructed further, its history was revealed.  The seat provided the frame and an aperture. In the seat of the chair there were worn and aged layers of upholstering. The base of the seat became a larger “egg tray” for both moulding the fabric and creating circular discs. In “Presence and Absence” the sense of memory and history permeates the materials showing the passage of time. By exploring the negative impressions pressed in and cut out, I could create fragments of space. A circular motif is repeated throughout the sculpture.  An architectural framework of semi- enclosed spaces juxtaposes the cut out and pressed in surfaces.  This sculpture reflects the domestic nature of my work and is made up from various household items.

Instagram @sarahfeinmann

Presence and Absence (2020), 84 x 36 x 63 cm, found materials wood, linen, felt padding, and rubber balls. Image courtesy Jules Lister