Sarah Gillespie
Sarah Gillespie was born in Winchester in 1963. She studied 16th & 17th century methods and materials at the Atelier Neo-Medici in Paris and then read Fine Art at Pembroke College, Oxford (BFA Ruskin School of Drawing & Fine Art). On leaving she was awarded the Elizabeth Greenshield Foundation International Award for figurative art and has had a successful career as a painter. In 2016 she was elected a member of the Royal West of England Academy.
Her work is held in public and private collections including: The V&A museum; Pallant House; RAAM Exeter; Victoria Gallery, Bath; Government Offices for the South West; Royal West of England Academy; Sharpham Trust; Chatsworth House; Castle Howard; Damien Hirst; Museum of Fine Arts, Yekaterinburg, Russia; The Xuihui Museum of Fine Art, Shanghai, China and Calvin University, MI, USA.
Sarah Gillespie makes mezzotint prints, a centuries old, slow and painstaking intaglio method that produces unique velvet blacks and soft tones. Her work encourages us to de-center the human & refocus our gaze toward the everyday and the overlooked in the more-than-human world: moths, blackbirds and winter-suns. The making of the Mezzotints uniquely compliments the surface of the moths. Through this slow and painstaking method, Gillespie draws each moth from the toothed surface of the copper printing plate by burnishing the light, trapping the detailed pattern, tones and shape into the surface. There are no hard outlines as gradual tones edge to the darkness surrounding them.
Sarah Gillespie was born in Winchester in 1963. She studied 16th & 17th century methods and materials at the Atelier Neo-Medici in Paris and then read Fine Art at Pembroke College, Oxford (BFA Ruskin School of Drawing & Fine Art). On leaving she was awarded the Elizabeth Greenshield Foundation International Award for figurative art and has had a successful career as a painter. In 2016 she was elected a member of the Royal West of England Academy.
Her work is held in public and private collections including: The V&A museum; Pallant House; RAAM Exeter; Victoria Gallery, Bath; Government Offices for the South West; Royal West of England Academy; Sharpham Trust; Chatsworth House; Castle Howard; Damien Hirst; Museum of Fine Arts, Yekaterinburg, Russia; The Xuihui Museum of Fine Art, Shanghai, China and Calvin University, MI, USA.
Sarah Gillespie makes mezzotint prints, a centuries old, slow and painstaking intaglio method that produces unique velvet blacks and soft tones. Her work encourages us to de-center the human & refocus our gaze toward the everyday and the overlooked in the more-than-human world: moths, blackbirds and winter-suns. The making of the Mezzotints uniquely compliments the surface of the moths. Through this slow and painstaking method, Gillespie draws each moth from the toothed surface of the copper printing plate by burnishing the light, trapping the detailed pattern, tones and shape into the surface. There are no hard outlines as gradual tones edge to the darkness surrounding them.
Sarah Gillespie was born in Winchester in 1963. She studied 16th & 17th century methods and materials at the Atelier Neo-Medici in Paris and then read Fine Art at Pembroke College, Oxford (BFA Ruskin School of Drawing & Fine Art). On leaving she was awarded the Elizabeth Greenshield Foundation International Award for figurative art and has had a successful career as a painter. In 2016 she was elected a member of the Royal West of England Academy.
Her work is held in public and private collections including: The V&A museum; Pallant House; RAAM Exeter; Victoria Gallery, Bath; Government Offices for the South West; Royal West of England Academy; Sharpham Trust; Chatsworth House; Castle Howard; Damien Hirst; Museum of Fine Arts, Yekaterinburg, Russia; The Xuihui Museum of Fine Art, Shanghai, China and Calvin University, MI, USA.
Sarah Gillespie makes mezzotint prints, a centuries old, slow and painstaking intaglio method that produces unique velvet blacks and soft tones. Her work encourages us to de-center the human & refocus our gaze toward the everyday and the overlooked in the more-than-human world: moths, blackbirds and winter-suns. The making of the Mezzotints uniquely compliments the surface of the moths. Through this slow and painstaking method, Gillespie draws each moth from the toothed surface of the copper printing plate by burnishing the light, trapping the detailed pattern, tones and shape into the surface. There are no hard outlines as gradual tones edge to the darkness surrounding them.