12.05.09 'DIY Fairytale Voices, Sarah Bridgland' New York Arts Magazine, Summer 2009

“My diminutive paper creations hover between the mediums of sculpture and collage. Delicately fashioned out of second-hand material collected from junk shops and my own printed media, they create a space where the real and imagined co-exist, where fact and fiction collide. Each piece is a myriad of textures, shapes, and lettering, reflecting my interest in the formal concerns of the Russian avant-garde and Constructivism.

I am fascinated by the marriage of form and my work celebrates this. Playful in its approach, it explores the endless permutations of the cut-out as a miniature form of reality. Referencing the animated nature of children’s pop-up books and toy theaters, it exploits the cut-outs’ potential for narrative. I am immersed in a world of make-believe and employ the cut-out as if it were an actor or a prop in a play. Rather than writing a story I am interested in the way chance narratives are invoked through the arrangement of the cut-up material. Adopting a formal language, I organize space through balancing the effects of different typefaces, graphics, and textures. A type of three-dimensional drawing, snippets of imagery and information invite the viewer to make their own associations and create conversations between the unrelated forms.

Exploring the intimate link between object and memory, my work exudes a simultaneous sense of loss and preservation. A desire to retain the past contends with a process that seeks to destroy it. Using forms and materials that are explicitly nostalgic, the past has an evergreen presence. Each piece is a constructed history as time is re-arranged. The viewer is invited to re-experience the past in an entirely new way—part real, part imagined. Daydream and reverie are encouraged, heightened by the intimate scale of the work, its meticulous craftsmanship soliciting a feeling of wonderment. I play upon our inner desire to dream, creating miniature worlds made all the more enchanting by seeing the ordinariness of the object before its world springs to life.”

Read the full article at www.nyartsmagazine.com.