Sarah Green was born in London, England in 1959, which qualifies her as horribly, terribly old in the eyes of teenagers. She currently resides in Texas. She received her B.A. in Vocal Performance from Texas Wesleyan University in 1984.Trained in figurative drawing by her father, Christopher Hill, Sarah studied intaglio etching, lithography and screen printing with the noted artist, Dale Conner. Conner thoroughly immersed his students in art history, as well as in traditional art and printmaking techniques. Sarah also studied photography with the late Texas Distinguished Artist, Peter Helms Feresten. Under Feresten's extraordinary guidance, Sarah learned traditional photographic and design procedures, including using varied photographic equipment, ranging from shoebox pinhole techniques to antique 8 x 10 plate cameras to $1.00 plastic Diana range finders. Sarah apprenticed with the acclaimed painter Nancy Lamb, working with her on ceramic tile pieces and with Prismacolor pencils on large format works. Sarah also enjoyed several years working as a commercial artist for Texas Refinery Corp. and the Pate family of Fort Worth. Sarah worked from the time she was 15 as a commercial artist, muralist, illustrator and sign painter before turning her full attention to her work as a portraitist.
From Sarah Green:
My late father and I spent many happy hours together watching vintage films. Dad knew the names and histories of each star, character actor, stunt man and bit player in every movie we saw together. Through Dad, I learned to love the films and stars of old Hollywood.
The tonal combinations in my portraits may appear complex, but I try to hold clutter to a minimum. The closer the viewer gets to the portraits I make, the more visually intricate they become. My aim is to have vivid hues and fundamental abstraction pull together to form the sum and substance of a person, whether it is an image of a classic film idol, a pop icon or a good friend.
My works are usually all digitally rendered these days, because I have developed a sensitivity to the solvents and paints that I used for many years in my printmaking and painting. I use an iMac computer and Adobe illustrator software. The finished pieces are output onto paper, plastic, fabric, ceramic tile, metal or glass. Much consideration is used to determine what the final work will be output onto, because the medium must suit the subject perfectly. The final result is always an exciting mix of a little bit of chance and a lot of preparation. All the files are deleted after a very limited run (usually only 7 prints or fewer), much as a printmaker will score a plate when an edition is complete.
North Texas city turning traffic signal boxes into artwork by Arezow Doost in CBS Local
Allure and utility by Anthony Mariani in Fort Worth Weekly