Speak it Into The Void and Baptise Yourself

Speak it Into The Void and Baptise Yourself

acrylic on wood panel, 2019

80 x 60 cm

Speak it Into The Void and Baptise Yourself
With Silver Bells, and Cockle Shells

With Silver Bells, and Cockle Shells

acrylic on wood panel, 2019

80 x 60 cm

With Silver Bells, and Cockle Shells
Repent, Repent, Repaint

Repent, Repent, Repaint

acrylic on wood panel, 2019

80 x 60 cm

Repent, Repent, Repaint
Sticks And Stones

Sticks And Stones

acrylic on wood panel, 2019

80 x 60 cm

Sticks And Stones
And I Think to Myself, What a Wonderful World

And I Think to Myself, What a Wonderful World

acrylic on wood panel, 2019

80 x 60 cm

And I Think to Myself, What a Wonderful World
It's the Longer Way Around but we'll Get There in the End

It's the Longer Way Around but we'll Get There in the End

acrylic on wood panel, 2019

80 x 60 cm

It's the Longer Way Around but we'll Get There in the End
Iqraa

Iqraa

Resin & acrylic on panel, 2018

60 x 60 cm

Iqraa
Rabuka Fa Kebir

Rabuka Fa Kebir

acrylic & resin on canvas, 2017

90 cm

Rabuka Fa Kebir
Rabuka Fa Kebir

Rabuka Fa Kebir

acrylic & resin on canvas, 2017

90 cm

Rabuka Fa Kebir

Biography

Sarah Alagroobi is an Emirati multidisciplinary artist with an MA in Painting from the Royal College of Art, London. She explores notions of culture and identity of both Middle Eastern and Western contexts through colonial discourse, including notions of whitewashing and ‘othering’. Her practice mines personal and collective experiences that portray an agile simplicity in expression of place, borders and a sense of belonging. She is the co-curator of BANAT Collective, a creative community that discusses intersectionality, feminism, gender and identity politics from a middle-eastern perspective. Her work has gathered attention in leading design magazines ESTRO, ID and Close-Up and have been exhibited regionally and internationally at Somerset House, London; Salone del Mobile, Milan; Versus Art Project, Istanbul; Venice Biennale; Dutch Design Week; ME Collectors Room, Berlin and Abu Dhabi Art.

glitch, time, repent

‘glitch, time, repent’ is a direct response to the psychological power that technology has over us as it is a way in which we can revisit our past, present and future. It speaks to the concept of time to where ‘defect’ is a mode of conscious expression in unpredictable errors. The fragmentation of the paintings visual language is byway of pentimento, an Italian word for ‘repentance’. Pentimento is a process used to describe an alteration within painting that reveals the human error, where morality is measured by righting a wrong within a composition. The layers themselves convey semiotic traces of the work’s narrative that transcend not only the history of the work but carry a kind of physical deliverance. The inner struggle we face with redemption, purging, repentance and conviction is a primarily sculptural implementation of layering gauges of acrylic. The process reflects the act of atonement through cultural commentary – creating and destroying, altering and changing through hallucinatory jagged lines spreading across a panel — expression through the glitch aesthetic rooted in error.

Request information