Bigindicator

Sarah Boyle

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20180223024201-boyle-015__day_or_night__san_juan_national_forest__oil_on_canvas__18_x_24_inches__2017
Day or Night, San Juan National Forest, 2017 Oil On Canvas 24 X 18 Inches © Sarah Boyle
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Canyon, 2017 Oil On Canvas 24 X 24 Inches © Sarah Boyle
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Buffalo, 2017 Oil On Canvas 18 X 18 Inches © Sarah Boyle
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Bronco Backseat, 2017 Oil On Board 9 X 12 Inches © Sarah Boyle
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Sunlight (Ed) , 2017 Oil On Canvas 18 X 18 Inches © Sarah Boyle
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Dad's Buddies, 2017 Oil And Acrylic On Canvas 24 X 24 Inches © Sarah Boyle
20180223023733-boyle-011__peter_glacier__iceland__oil_on_canvas__16x12_inches__2016
Peter, Glacier, Iceland, 2016 Oil On Canvas 16 X 12 Inches © Sarah Boyle
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Double Bow Iceland, 2016 Oil On Canvas 16 X 12 Inches © Sarah Boyle
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After Joan Jonas- Shimmer Dive, 2017 Acrylic And Oil On Canvas 16 X 20 Inches © Sarah Boyle
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After Joan Jonas- Reflection , 2017 Acrylic And Oil On Canvas 16 X 20 Inches © Sarah Boyle
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After Joan Jonas- American Pavilion at the Venice Biennale, 2017 Acrylic And Oil On Canvas 24 X 18 Inches © Sarah Boyle
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Venice 01, 2016 Oil On Canvas 24 X 18 Inches © Sarah Boyle
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Venice 02, 2016 Oil On Canvas 24 X 18 Inches © Sarah Boyle
20180223024847-boyle-004__return-_almalfi__oil_on_canvas__18_x_24_inches__2016
Return- Almalfi, 2016 Oil On Canvas 18 X 24 Inches © Sarah Boyle
20180223024848-boyle-003__capri__oil_on_canvas__18_x_18__inches__2016
Capri, 2016 Oil On Canvas 18 X 18 Inches © Sarah Boyle
20180223024857-boyle-002__beach__carpri_01__oil_on_canvas__18_x_18_inches__2016
Beach, Carpri 01, 2016 Oil On Canvas 18 X 18 Inches © Sarah Boyle
20180223024857-boyle-001__blue_grotto__oil_on_canvas__18_x_18_inches__2016
Blue Grotto, 2016 Oil On Canvas 18 X 18 Inches © Sarah Boyle
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Blue Lagoon, 2014 Oil And Acrylic On Canvas 18 X 36 Inches © Sarah Boyle
20151118025334-palace_garden__oil_on_canvas__2013
Palace Garden, 2013 Oil On Canvas 16 X 20 Inches © Sarah Boyle
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Drive, 2014 Oil On Canvas 12 X 12 Inches © Sarah Boyle
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Laura at Mills Lake, 2013 Oil On Canvas 12 X 12 Inches © Sarah Boyle
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Becky at Alberta Falls, 2012 Acrylic On Canvas 12 X 12 Inches © Sarah Boyle
20151118014952-becky_in_oregon__2013__oil_on_panel__12_x_16_inches
Becky in Oregon, 2013 Oil On Panel 12 X 16 Inches © Sarah Boyle
20151118023347-estes_park__colorado__2011__oil_on_panel__12_x_18_inches
Estes Park, Colorado, 2011 Oil On Panel 12 X 18 Inches © Sarah Boyle
20151118023554-port_campbell_national_park__victoria__australia__2011__oil_on_panel__15_x_17_inches
Port Campbell National Park, Victoria, Australia, 2011 Oil On Panel 15 X 17 Inches © Sarah Boyle
20151118023724-south_rim__az__2011__oil_on_panel__15_x_23_inches
South RIm, AZ, 2011 Oil On Panel 15 X 23 Inches © Sarah Boyle
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Grotto Divers, 2010 Acrylic And Oil On Canvas 36 X 60 Inches © Sarah Boyle
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Piazzo Ossessionato All'Alba/ Haunted Piazza at Daybreak, 2010 Acrylic And Oil On Canvas 48 X 30 Inches © Sarah Boyle
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Un Bacio In Un Limbo/ A Kiss In Limbo, 2010 Acrylic And Oil On Canvas 20 X 16 Inches © Sarah Boyle
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Ripples and Repetition on the Marina Grande, 2010 Acrylic And Oil On Canvas 36 X 48 Inches © Sarah Boyle
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Dormire Sogno Sulle Scale/ Dream Sleep on the Stairs, 2010 Acrylic And Oil On Canvas 24 X 24 Inches © Sarah Boyle
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Two at La Fontelina, 2010 Acrylic And Oil On Clayboard 8 X 10 Inches © Sarah Boyle
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Spazio Liminale/ Liminal Space, 2010 Acrylic And Oil On Clayboard 8 X 10 Inches © Sarah Boyle
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A Group of Bathers at Nightfall, 2010 Acrylic And Oil On Canvas 36 X 48 Inches © Sarah Boyle
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Casa Malaparte, 2010 Watercolor On Paper 11 X 14 Inches © Sarah Boyle
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Rocks of the Faraglioni, 2010 Watercolor On Paper 11 X 14 Inches © Sarah Boyle
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Capri~cious IV, 2010 Acrylic And Oil On Canvas 20 X 16 Inches © Sarah Boyle
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Capri~cious II, 2010 Acrylic And Oil On Canvas 16 X 20 Inches © Sarah Boyle
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Onde Sulla Soglia/ Waves on the Threshold, 2010 Acrylic And Oil On Canvas 48 X 36 Inches © Sarah Boyle
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Siren's Eyes, 2010 Acrylic And Oil On Canvas 15 X 30 Inches © Sarah Boyle
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Nuoto Nella Memoria alla Grotta Azzurra/ Swimming in Memory to the Blue Grotto, 2010 Watercolor On Paper 5 X 7 Inches Oval/ 8 X 10 Inches © Sarah Boyle
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Insula, 2010 Watercolor On Paper 5 X 7 Inches Oval/ 8 X 10 Inches © Sarah Boyle
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Sequenza in Rosso/ Sequence in Red, 2010 Watercolor On Paper 5 X 7 Inches Oval/ 8 X 10 Inches © Sarah Boyle
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Calvino's Reading Room, 2010 Watercolor On Paper 8 X 10 Inches © Sarah Boyle
The_little_mermaid_
Little Mermaid Still Life, 2007 Oil On Canvas 24 X 30 Inches © Sarah Boyle
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Stop Talking 10-26-10, 2010 Acrylic On Canvas 22 X 28 Inches © Sarah Boyle
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1-26-2009, Indianapolis, IN, 2009 Oil On Canvas 4 X 6 Inches © Sarah Boyle
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© Sarah Boyle
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One A Days Installation, 2008-2009 Oil And Acrylic On Canvas © Sarah Boyle
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© Sarah Boyle
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Two Figures, 2009 Oil On Panel 10 X 8 Inches © Sarah Boyle
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Living Room, Indianapolis, IN, 2009 Oil On Canvas 12 X 10 Inches © Sarah Boyle
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The Good Night, 2009 Oil On Canvas 20 X 20 Inches © Sarah Boyle
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Cake, Gold Coast, Chicago, IL, 5-25-2008 Oil On Canvas 5 X 7 Inches © Sarah Boyle
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1-29-2009, Indianapolis, IN, 2009 Oil On Canvas 4 X 6 Inches © Sarah Boyle
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1-24-2009, 2009 Oil On Canvas 4 X 6 Inches © Sarah Boyle
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8-18-2008, 2008 Oil On Canvas 4 X 6 Inches © Sarah Boyle
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8-21-2008, 2008 Oil On Canvas 4 X 6 Inches © Sarah Boyle
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The Little Mermaid Spill/Pierce, 2007 Oil On Canvas 36 X 48 Inches © Sarah Boyle
Float
The Little Mermaid: Float, 2007 Oil On Canvas 36 X 48 Inches © Sarah Boyle
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Pool Room, 2009 Oil And Acrylic On Canvas 24 X 30 Inches © Sarah Boyle
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Quick Facts
Birthplace
New Haven
Birth year
1984
Lives in
Chicago
Works in
Chicago
Schools
The School of the Art Institute of Chicago, 2007, BFA
Tags
landscape, figurative
Statement

Lives and works in Chicago, IL and resident at the Cornelia Arts Building.

I am a painter exploring contemporary issues in perception, place, landscape, travel, and memory.  I graduated from the School of the Art Institute of Chicago in 2007 with a BFA in painting and drawing.

No matter which scenes an individual remembers, they all mean something relevant to that person, though he or she might not necessarily know what they mean. – Maurice Halbwachs

Siegfried Kracauer describes “significance” as going beyond spatial and temporal limitations, eventually turning fragments of memory into unconscious truth. In much the same way, I use traces of memory to inform my work. By combing through my travel log and using a history of personal photos, or what Kracauer would describe as “a jumble that consists partly of garbage,” I find images for reference. A feeling without preconception and a place interrupt my archival shuffle. In Space and Collective Memory Maurice Halbwachs identifies that “every collective memory unfolds within a spatial framework,” and it is the lasting impression of place through travel, habitation, imagination, and thought which aids one in conjuring the past. Image helps me detangle the randomness of experience or allows me to observe chaos pleasurably by creating it.

We ourselves may experience a similar period of uncertainty, as if we had left behind our whole personality, when we are obliged to move to novel surroundings and have not yet adapted to them. – Maurice Halbwachs

My process begins much like the “wordless thought” that James Turrell has identified behind creating a sense of seeing within atmosphere. The foundation of my work is authentic immediate experiences. If I include figures, they are usually people I know. The two places most frequently represented are Italy and mountainous landscapes, both locations of origin in different ways. From family history I developed a sense of belonging to Italy without visiting the country. In a recent project, I used Italo Calvino’s Invisible Cities as way to explore my idea of Capri, but my current work is based on actual memories. Mountainous landscapes are the first I can recall, having lived in Colorado when I was younger. They act as Halbwach’s framework over multiple periods of time in my life and symbolically remind me that as much as I try to recreate moments through painting, they are ultimately unrepeatable.

The painters who currently influence me use realism as a means towards abstraction such as Peter Doig, Claire Sherman, and Fairfield Porter. I get my satisfaction when a viewer can access their own memories without clear resolve, while also gaining some pleasure deconstructing my images. The landscapes of Capri and Venice are exaggerated versions of scale and color. The vantage point seems to be unnatural, as if viewed from a dream. Delicate linear details make buildings appear miniature or something to be kept and cherished.  In the triptych series After Joan Jonas, the interior space of the American Pavilion at the 2015 Venice Biennale allowed me to use disorienting elements like projection screens, mirrors, spotlights and chandeliers that were part of the installation. The final landscape paintings all force perspective towards a single figure. The Romantic idea of the heroic individual at one and in awe of nature is obvious at first. Light and color is inviting, and small areas of pattern and rhythm create playful transitions across the surface. At the same time the figures are trapped or separated from the formal horizon line found in traditional landscape painting.