Sarah Dillon

Sarah Dillon  (  
Statement of Practice: I contemplate time, place and change and ultimately explore what it is to be where I am. Most recently my work has sourced from material I gather from Facebook, referencing moments from news feeds but simultaneously reinventing them through the creative interpretation and process of painting. Essentially, the notion of Schrödinger's Cat as it functions within the minutia of day-to-day living, its narrative, and how the idea of transition or the unknown state-of-being carries over to the function and practice of painting. I encourage self-reflection in life around us in effort to define and question truth. How it is experienced; how it is presented."


How do you describe your work and how do you talk to a potential buyer? Give us the elevator pitch.

My work is not intended to “match the couch”. It all depends greatly on what the viewer brings to the table.  They have to take some responsibility for their own interpretation. I thrive on deeper conversations that emerge about life and painting when a viewer encounters my work. These are the typical conversations held with potential buyers. When this happens, often the buyer will come back to the piece multiple times and cannot live without it. They find each other.

Where can people normally find you hanging out?

In the studio or running about with my toddler.

If you could own a piece of art by any living artist, what would it be (or whose)?

I am a big fan of Squeak Carnwath. I feel like she shoots the breeze with me every time I look at her work.  Sometimes my own work tries to shoot back.

What kind of art could we find your home?

As an artist, I have a unique opportunity to collect. Throughout my career, I have traded work with or purchased work from artists whom I know and respect.  My walls are full of treasures: memories and stories told through the work I have collected over time from teachers, colleagues, students and friends living here and abroad.

What is the best home for your art?

My work is vibrant and active and looks fantastic on a crisp, clean, well-lit wall.  I am always tickled when a piece whispers a private message, and artist and viewer share a special little moment just between us.  A nod and a wink and I know the piece will be treasured.  Often these clients contact me later to let me know exactly where they hung the piece and how it functions in their space.

What is often overlooked about your work?

My work is often about things that are overlooked.  The viewer expects me to do the work in telling the story, but really the task is theirs to interpret and make up their own.  I am always most satisfied as an artist, when I sneak through a gallery and listen to what people are saying as they look at my work.  Their interpretations are based on their own experiences and what they relate to in the work.  That is the beauty of social media; I interpret stories but am a storyteller. There is room for my audience to have an entirely different take.  Essentially, the work is six degrees of separation from the truth.

Solo Exhibitions:

  • Foundry Art Centre (St. Charles, MI)
  • Koch Gallery (Vashon Island, WA)
  • Helen S. Smith Gallery, Green River College (Auburn, WA)
  • Gallery 110 (Seattle, WA)
  • anuik Winery (Woodinville, WA)

Group Exhibitions:

  • Gallery 110 (Seattle, WA)
  • Blackfish Gallery (Portland, OR)
  • Oxbow Gallery (Northampton, MA)
  • Georgia College and State University Museum (Milledgeville, GA)
  • Gallery XIV (Boston, MA)

Permanent Collections:

  • Private Collections