SARAH NIND: BIO
Sarah Nind’s photo-based work incorporates painting, digital technology and installation, and addresses memory, displacement, and dichotomy, creating images that are real and fictional, evocative and emotional. The juxtaposition of media in her work confronts our understanding of seemingly disparate visual systems, ultimately questioning how we structure a world that is chaotic and undefined using the visual language of images.
Nind’s work has been exhibited widely nationally and internationally including at the Museum on the Seam (Jerusalem, Israel), Yuanfen New Media Art Space (Beijing, China), the National Gallery of Canada, and the Canadian Museum of Contemporary Photography (Ottawa). Her work is found in numerous public collections, including those of the National Gallery of Canada (Ottawa), the Tom Thomson Memorial Gallery (Owen Sound), the Prague House of Photography and the Chazen Museum of Art (Wisconsin).
Sarah Nind was born in Kuala Belait (Brunei) and holds dual U.K./Canadian citizenship. She currently lives in Toronto, where she is a professor in the Drawing and Painting Department at OCAD University. Her educational background includes a Bachelor of Architecture (University of Toronto), a Master of Fine Art (York University) and a Ph.D. of Philosophy (European Graduate School, Saas-Fee, Switzerland)
Sarah Nind (Artist Statement)
The World Through Coloured Glasses
Film Scores addresses the chaotic, even illogical, dimensions of today’s visual language, in which images and ideas often collide in the digital-analogue world. Through juxtaposing, layering, manipulation, inclusion or exclusion, contemporary images can consciously and unconsciously alter content, confuse memory and rewrite history.
Film Scores is working with this superimposition of disparate visual languages. Incorporating mixed media, Film Scores superimposes pattern and excerpts from popular culture onto oil painting and photographic imagery. What appears to be the image on the surface and what lies below this surface often exist in tension and absurd juxtaposition. The seeming abstraction and beauty of these images, whether through painted decorative pattern or colour barcode references from popular film, veil or mask layers below the painted surface, much in the way we ‘gloss over’ or ‘make light’ of issues we might not want to fully acknowledge.
This body of work started with pattern such as dots or stripes, and more recently has incorporated images from popular culture, to give structure to and mediate the underlying images. Current work explores popular culture, specifically Disney feature films reduced to colour barcodes, as the filtering device and aesthetic screen which mask what lies below, thus examining how narratives of popular entertainment alter our perception of the world we inhabit.
The idea of the aesthetically or culturally mediated images of Film Scores can be understood as an ongoing dialogue between the private and the public, the traditional and the contemporary, the poetic and the profane.