Sarah Cale

Cale's recent work foregrounds the influence of collage within a practice which might be seen as a form of productive cannibalism. Canvases, once painted, are cut apart to annotate or propagate other works. This process illuminates the search for something other than reconstitution or equilibrium. In Cale's work, the gestural mark or brushstroke is always fugitive. It becomes a shifty, unreliable thing that invites us to see an aperture as a void and a portal as a question.