During her studies at university, Sarah obtained an emphasis in printmaking within her interdisciplinary studies of studio art. Printmaking had quickly become her favorite art medium and she enrolled in every course offered in the field, later to become a teachers assistant in her final year of study.
Sarah reflects on those years in college, “I remember the old presses we had in our art studios and the anticipation I felt as I hand rolled a newly carved linoleum block with handmade paper through the massive metal machines. I would rotate the press’s giant crank arm, and excitedly peel the freshly inked paper off its block. I loved everything about the process; from the smells of the damp handmade paper mixed with the drying ink, to the sounds of the ink itself as it clung to the brayer as I rolled it back and forth.”
Without access to a printing press for many years following her studies, Sarah focused on developing her painting and drawing techniques.
"It wasn’t until this last year that my passion for printmaking was reignited. "Ever since I started carving again, I just couldn't stop, I crave to carve, to create, to printmake. I feel like I was always meant to be doing this. ”
After a span of time spent researching and experimenting, Sarah discovered the traditional art of Moku Hanga, Japanese printmaking, which uses a baren (a round handheld disk which evenly distributes the pressure to pull an evenly inked piece) to hand pull the prints. With this new method discovered, Sarah began combining Moku Hanga with Western methods of applying ink with a brayer as her primary methods of printmaking. These new methods now allowed her to work from her home studio without a press.
Each print produced is hand pulled, signed, numbered and dated.