The talented
Sarah Brown is an Australian native currently calling Melbourne home. Since completing a BFA (Photography) in 2005 Sarah has been involved in numerous exhibitions including Alter Ego, FotoLomo and Reunion. She was also accepted into the 2006 Photomedia Awards for her piece "Great Grandmother". Her photos have appeared in such publications as F-Stop Magazine, Relative Magazine, the West Australian and Variety.
Blyton
Blyton and
Reaching are part of Sarah’s “Sensory” series which deals with ideas relating to touch, light, emotions and memory. Taken at the end of the day at one of her favorite parks in California, Sarah’s inspiration for these shots came from watching the light and shadows that fall at sunset, and the feelings that come from that change. I think she was quite effective in achieving that mood. Looking at these images conjures up memories of picnics with friends on hot summer days. The light fading as day draws to an end. That exquisite time between early evening and sunset when the day’s light is trying not to give in to night’s dark. Things seem pleasantly soft and fuzzy. The changing light causes everything to be just a little out of focus, yet the memories of a good day enjoyed with friends remains perfectly sharp. Sarah spoke to me recently about her work and her recent images for www.photographyartstore.com
YOU HAVE A VERY UNIQUE STYLE. HOW DID YOU COME ABOUT FINDING THIS STYLE?
I suppose my style is a result of constant observation. I also try and spend as much time as possible looking at other photographers work, both established and unknown, for inspiration. You never know what will inspire you or give you a new idea. It could be branding on a coffee bean package or an exhibition at the MOCA. I also try to think about what sort of mood I want to portray with my images, which is dependent on the camera and film choice, experimenting with lots of different cameras has helped hone my style.
Reaching
EXPLAIN WHAT THE STORY OR IDEA IS BEHIND THE "SENSORY" SERIES?
This whole series came about when I was living in Los Angeles, CA. I shot these up in Griffith Park, which is one of my favourite places, using very kind friends as models. I wanted to explore a lot of ideas I had that were not easily vocalized, but I could see the image in my brain. I love the light at the time of day and the surrounding landscape, the effect your surroundings have on your mood.
WHAT DO YOU HOPE PEOPLE GET OUT OF YOUR ART?
I hope people get enjoyment and any sort of emotional attachment out of my work. I hope that it triggers them to feel something, even something small, that may connect them in some way to a place a time or give them a brand new feeling altogether.
WHERE DO YOU GET YOUR INSPIRATION FOR A PROJECT OR SERIES FROM?
Honestly, it can come from anywhere. The inspiration for this series came from watching the light and shadows that fall at sunset, and the feelings that come from that change.
CAN YOU DESCRIBE WHAT YOUR CREATIVE PROCESS IS? HOW DO YOU COME UP WITH THE CONCEPT FOR AN IMAGE OR SERIES?
Sarah: I suppose it’s different for every series. For my Clones Series I see the final image in my brain before it is shot because of the way you have to shoot it. But for something like my Sensory Series, it was more like seeing little snippets of things; the back of someone’s head washed in fading sunlight, the tall dry grass touching skin. I didn’t know what these images would look like until I was shooting them because it ran more on emotion than planning.
HOW DO YOU DECIDE ON LOCATIONS OR SUBJECT MATTER?
This location was the catalyst for the shoot, it wouldn’t have happened anywhere else. The selection of location is extremely important, but that doesn’t mean your location has to be extravagant or iconic. It can be an amazing wall covered in vines that you drive past every day on your way to work, or a great old cinema that you’ve seen a movie in. Sometimes a place just sticks in your brain but you don’t know how to use it until a little while later, like you need that first image of the location to get the ball rolling on why you would use it.
HOW MUCH OF YOUR WORK IS SPONTANEOUS AS OPPOSED TO CAREFULLY PLANNED OUT SHOTS?
It’s completely dependent on the shoot. As I mentioned, the Clone Series is completely planned as there are props, costumes, locations etc to think about before a single photo is taken, however images from my America, I Love You series were all completely spontaneous. I try to always have a camera with me, as clichéd as that sounds! But you do really never know when you are going to see something that you want to shoot. My handbags are more like carry on luggage now!
WHAT ARE YOU WORKING ON RIGHT NOW? WHAT CAN WE LOOK FORWARD TO NEXT?
I have recently moved to Melbourne, Victoria and am planning a shoot to take place at Hanging Rock. It’s quite an iconic place for me, having grown up reading the Joan Lindsay novel, and I am excited to see what happens. I have been out of Australia for quite some time so am planning on utilizing the environment a lot in this series. Let’s hope I get something good!
I have a feeling she will definitely get something good! Many thanks to Sarah for speaking with us. Please check out her work & the works of all our artists at
Photography Art Store.
