Photo Essay: Sara Waters @LHUCA


I’ve had the pleasure of discussing Sara Waters’ artwork with her in her studio on two occasions, each separated by about a decade. In the four years we lived in Slaton, she continually had installations of old and new work rotating in her expansive gallery windows—almost on display for no one but the occasional Fifth Friday art trail openings on the square.

This compulsion to make (whether mundane or momentous) is commendable. Her drawings, a series titled “Suspensions” on display at LHUCA are prefaced on the art center’s website by the following cryptic statement: “my work captures moments caught in time and space.” These drawings are certainly quiet in contrast to her sculptures and larger paintings, and they seem to whisper whereas Waters’ other work is weighted and somehow monumental: female faces pushing like wind off the wall, canoes, pods, and mechanical bobs. In some ways, the drawings are an aerial view of the different installations that have lived in her Slaton gallery windows.

Contained in the “Suspensions” series are possible structures, storms, stitches, drums, mouths, or blades, and despite their flimsy lines they hold to an architecture and overall rectangular composition. Drawing to drawing this form undulates and throbs, like a heart beating. The occasional scrap of paper punctuates sometimes weaving, sometimes decisive lines. This deliberate order and staccato, not like a map but rather the rhythm of the day: the ebb and flow of hunger, thirst, fatigue.

*Sara Waters drawings are on view at LHUCA until May 26th, 2018.

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