AND THIS FEELING PUZZLE
Los Angeles-based artist Sarah Cain (b. 1979, Albany, NY) paints exuberant abstractions that often extend beyond the canvas into installations, site-specific painting, stained glass, and furniture. Cain’s muscular painting embraces a strategically intuitive power that both undermines and expands our expectations of what has been historically considered “serious” abstract painting. Cain redefines abstraction in feminist terms as an architecture for transformative, embodied, emotive experience. In this regard her work has an explicit politics that emphatically insists on the value of feminine, queer, and other “other “othered” aesthetics, intentionally dismantling male-dominated art historical traditions.
Los Angeles-based artist Sarah Cain (b. 1979, Albany, NY) paints exuberant abstractions that often extend beyond the canvas into installations, site-specific painting, stained glass, and furniture. Cain’s muscular painting embraces a strategically intuitive power that both undermines and expands our expectations of what has been historically considered “serious” abstract painting. Cain redefines abstraction in feminist terms as an architecture for transformative, embodied, emotive experience. In this regard her work has an explicit politics that emphatically insists on the value of feminine, queer, and other “other “othered” aesthetics, intentionally dismantling male-dominated art historical traditions.
Los Angeles-based artist Sarah Cain (b. 1979, Albany, NY) paints exuberant abstractions that often extend beyond the canvas into installations, site-specific painting, stained glass, and furniture. Cain’s muscular painting embraces a strategically intuitive power that both undermines and expands our expectations of what has been historically considered “serious” abstract painting. Cain redefines abstraction in feminist terms as an architecture for transformative, embodied, emotive experience. In this regard her work has an explicit politics that emphatically insists on the value of feminine, queer, and other “other “othered” aesthetics, intentionally dismantling male-dominated art historical traditions.