Sarah Cunningham seeks out the essential and the alive through her imaginary wildernesses and fluid forestscapes. She constructs kaleidoscopic environments and imagined forest clearings from multiple layers of radiating bursts of light, line and colour. Cunningham builds up complex spatial structures through gestural marks, in a process of continual obliteration and overpainting, until hidden worlds and pastures appear. Cunningham draws from a multitude of literary, art historical and personal references, adopting and dissolving these situations through vivid, expressionistic mark making.

Sarah Cunningham seeks out the essential and the alive through her imaginary wildernesses and fluid forestscapes. She constructs kaleidoscopic environments and imagined forest clearings from multiple layers of radiating bursts of light, line and colour. Cunningham builds up complex spatial structures through gestural marks, in a process of continual obliteration and overpainting, until hidden worlds and pastures appear. Cunningham draws from a multitude of literary, art historical and personal references, adopting and dissolving these situations through vivid, expressionistic mark making.

Sarah Cunningham seeks out the essential and the alive through her imaginary wildernesses and fluid forestscapes. She constructs kaleidoscopic environments and imagined forest clearings from multiple layers of radiating bursts of light, line and colour. Cunningham builds up complex spatial structures through gestural marks, in a process of continual obliteration and overpainting, until hidden worlds and pastures appear. Cunningham draws from a multitude of literary, art historical and personal references, adopting and dissolving these situations through vivid, expressionistic mark making.

Sarah Cunningham seeks out the essential and the alive through her imaginary wildernesses and fluid forestscapes. She constructs kaleidoscopic environments and imagined forest clearings from multiple layers of radiating bursts of light, line and colour. Cunningham builds up complex spatial structures through gestural marks, in a process of continual obliteration and overpainting, until hidden worlds and pastures appear. Cunningham draws from a multitude of literary, art historical and personal references, adopting and dissolving these situations through vivid, expressionistic mark making.