Sarah Munro’s work engages with the relationship between painting, representation and technology. Her paintings are developed directly from CAD (Computer Aided Design) drawings exploring the geometric vernacular that is fundamental to this software. Munro’s work considers a painting as an object within the continuum of manufactured and pigment coated objects. The formal conventions from both minimalism and product design software are recombined and the painted forms produced with machine milling, fibreglass lamination and an automotive paint system. Using the geometric forms of minimalism, with a repeated emphasis on the polygon shape, the work plays off distinctions between the real with the virtual. Fictitious shadows and highlights generated within the software are rendered across their 3D fibreglass supports so that, when finished, they seem to represent their counterparts drawn within the digital environment.
Sarah Munro’s paintings; painted surfaces over custom made three-dimensional supports, intentionally engage with spatial concerns usually attributed to sculpture while maintaining a dialogue with traditionally two-dimensional concerns such as the pictorial conventions used to represent light or draw three dimensional forms. Recent works include specific elements that have been designed in relation to the architecture of the gallery space the work will occupy. Prior artwork has been discrete and contained within the physical limits of the art object but the work made for the exhibition ‘Surface Detail’ took on a more intentional relationship with the surrounding architecture. The viewers attention was lead from the surface of the work, back to the wall surface the paintings were hung on, to the specific shape and orientation of the architecture. Making use of CAD’s geometry and pictorial illusions that simulate perspective, it borrowed some of these pictorial conventions to generate a disjunctive relationship between the painted object and the gallery space; as if the work, with its emphasized artificiality, exists within a slightly different spatial environment to the room itself.
Sarah was born in Kirikiriroa, Aotearoa. Sarah completed a Doctorate in Fine Arts at the University of Auckland in 2005 and in 2006 was the recipient of the Frances Hodgkins Fellowship, University of Otago, NZ. Her work is held in a number of national public and private collections.