Born 1980 in Winterhaven (FL), lives Los Angeles (CA)
Sarah Cromarty's painting practice involves acts of re-appropriation, defacement and recreation. The foundations of her work are landscape prints that undergo transformations via the artist’s hand such as remounting, cutting, scraping, gluing, collage, varnishing,and painting. Through such interventions the paintings go through a dramatic recreation, one that displaces traditional notions of figure/ground relationships, the authentic and the copy, as well as painting and sculpture. By playing with these formal codes, Cromarty is akin to other contemporary painters such as Peter Doig, Michael Raedecker or Dexter Dalwood as she opens up a visual place in painting that obeys the rules of an "imaginative space".
Cromarty's work is painstakingly produced with a sensibility that does not shy away from the painterly virtuosity that makes for special effects of surface qualities. Her psychologically charged paintings continue to challenge and compel viewers in ways that are strange, striking, and beautiful.