An interview with Sarah Pupo, our January-March 2020, Québec Resident, in which she speaks about the works she produced during her residency at the BSR.
Your paintings give physical expression to the abstract ideas of reflection, shadow and trace. What interests you about these transparent and soft concepts?
Yes, I’m trying to speak to what is intangible and difficult to embody in a physical way. I think this is why I’m using these materials that are that are barely there, that leave imprints or traces of themselves, are made of shadows and light, washes of colour, suggestions of shape and structures that barely hold themselves together. I want to give form to the things we can’t see or put into words, like a feeling that washes over you or a memory of someone, or the resonance a place holds.
These physical elements of the work are tied to ways of thinking that are not linear but more associative, like you see a thing and it reminds you of another, you see a gesture that makes you recollect something in the past that you can’t put your finger on. That sense of familiarity, coincidence, déjà vu, something just below the surface. Rome is an interesting place for that, because there is such a feeling of memory and time here and so many residual traces of the past. The ones that are most interesting to me are not the grand monuments but all the things that are broken or half-erased, all the left-overs.
It’s as though you are creating different inhabitable worlds with your sculptures. Where do the ideas for these places come from?
They have emerged from these traces and in between spaces where time moves differently. When I make drawings I see it as a ritual: you sit down in the same space with the same set of tools every day and you are returning to a moment in time. You do this physical practice to try to connect these moments and create a space where time works cyclically, stretches out, decisions happen slowly and different types of thought are able to emerge. In the best moments you are opening yourself to a subconscious, intuitive world, a place of associative thinking and slowing down. I love those little weird moments where I feel lost in time, that’s why I animate too. When making stop motion animation it takes forever to make a small thing move but it also feels like no time at all. It is very meditative and I want to bring people into these in between worlds that become a bit dream-like. Where the rigidity of things soften and they aren’t clear or sharp anymore and you can make more poetic associations. My shadow forms are in the process of becoming something like a full thought and I want to bring people into this soft middle space.
Interview by Marta Pellerini (BSR Fine Arts Adviser)