Find out more about Sarah Elyse Granetz painting process and her studio.
One of the things we love most about our artists is that no two are exactly the same. Whether in style, technique, or medium, Agora artists all have their own unique characteristics that make their art their own. One such artist is Sarah Elyse Granetz, whose show at Agora Gallery just closed in early July. Sarah received her B.A. in Fine Arts from George Washington University in Washington, D.C. During this time, she spent a semester in Paris, France. What began as a “self-portrait” assignment has transformed into a meditative series on the female form through literal impressions of the artist’s actual body.
Through this series, I have been able to explore the controversial and complicated theme of one’s body and one’s gaze upon it while respecting the ‘truth’ of my own. Through these works, I have found peace.
We talked more with Sarah about her unique painting style. Read on to learn more about her techniques, artistic choices, and how she works through her process!
The amount of movement depends on the piece. Sometimes there is a lot of pre-meditated movement, while other times there is one specific motion.
When I first began this series, each movement was spontaneous, almost experimental even. Now, after selecting my canvas, I study the space and what I want to communicate in it. After deciding on a pose, I ensure I will “fit” by laying on it without paint. After confirming I can execute what I have in mind, I decide on colors, textures, etc and then begin. The prints themselves are made quickly; immediacy is vital to the images I create.
My mind decides how and what my body will portray, so I think they are both equally important to my process. My body is my vehicle, my brush.
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Color is still an aspect of my work that I am working to perfect. Personally, I am not drawn to many colors, but I recognize that I cannot only produce black and white paintings. Also, colors carry important significance that I want to communicate, so it is essential that I open my mind and process to them. I tend to stick with more emotionally-driven color such as blood red, navy blue, and sepia in addition to shades that resemble skin tones. In some pieces, the color is just as important as the pose, while in others, I do not want it to overshadow the overall composition. Therefore, they are very carefully chosen.
The way I paint my skin is very important in my process. It determines how my “impressions” are communicated and executed. Personally, I tend to apply my skin to the canvas in the same way for all my pieces (I like this uniformity), so the differences come from the application of paint. Just as I premeditate my composition, I consider which application will most successfully compliment the piece. When I am experimenting with new materials, it is impossible to plan as much, but I do play with my applications to ensure I am using the medium to the best of its ability.
I used to let the colors blend, but now I much prefer to let each layer dry before I add a new one. So after each color/registration, I rinse and dry off, and often then blow dry the canvas so I can keep working in a relatively timely manner. When I am inspired, I do not like to have to wait around for paint to dry.
Until recently, I laid on the ground for each piece. It is very difficult to imprint all of one’s front/back/side while pressing yourself against a wall. I have one piece that I am very happy with I leaned against a wall to make (i.e. “Surrender”), but it was very difficult to accomplish.
My studio is quite open with two large windows. They only open a few inches, but it is enough to let fresh air in. The floor is entirely covered in black plastic; I use a lot of paint when I work, and when I apply it via my “drip” method (i.e. “X-Ray”), it often sprays everywhere. The erratic and accidental effects of flying paint are important to my compositions; I like to document and have evidence of my process in my work.
My new pieces (i.e. “Show Me Yours”) require me to apply watery-paint directly to the canvas so I can then remove it with my skin (thus creating “negative” impressions as opposed to “positive” ones), which requires an obscene amount of paint and water. When I create these paintings, I lay down additional layers of plastic so I do not damage the floor and so I can keep the mess somewhat contained. Cleaning up after I create multiple paintings can be just as laborious as the paintings themselves!
I always listen to music when I work. The playlist depends entirely on my mood. Recently, I’ve been retreating back to my favorite emo-rock from high school (Taking Back Sunday, Jimmy Eat World, etc); other times I like to dance around to upbeat female singers. It really depends.
Collectors often relate to the art they buy emotionally, and more often than not, it is because they identify with the artist’s process. Whether you are looking to decorate an entire home, complete a room, or add vitality and professional credibility to an office space you will find the perfect piece on ARTmine. Need help in finding the perfect piece that really speaks to you? Contact us at [email protected]
Granetz’s compositions are incredibly enigmatic and emotionally charged. See more of Sarah’s work on her ArtMine page.