Sarah Bowker-Jones was born in North Wales, 1978. Lived in Hull for a while, then down in London for a lot longer. Moved to Colwyn Bay in 2015, with her family. Has been on something of a hiatus for the past few years while she made babies and roughly figured out how the flip to rear young. She is now feeling more settled, has a lovely studio and is claiming back her practice. Writing about myself in third person again – Hell Yeh!
She studied Fine Art Painting – BA at Hull School of Fine Art 1997 – 2000, and MFA at Slade School of Fine Art, London 2006 – 2008.
Bowker-Jones is somewhere between a painter and a sculpture, loving the colours and liquidity of paint but also the physicality of a variety of materials. Experimentation of process is vital to Bowker-Jones's practice, as, it seems, is her rare ability to commit to a finished piece. She is often cutting up and reusing old work to make new... possibly trying to escape the test of time, yet at many points works have been fixed to pixels as they take a vulnerable rest for an exhibtion here and there. These are mainly what you will find on this very website.
Her practice has been long influenced by the 1960's Italian movement Arte Povera for it's liberating use of materials and processes away from the conditioned restraints of traditional art; the Japanese notion of Wabi Sabi which acknowledges enigmatic beauty in the unfinished, imperfection, and impermanence; and her absolute belief in the importance of the freedom of learning through play.
Bowker-Jones's work is something to do with all the words above, PLUS the complications of being alive, how messy that is... and a 'kind of' celebration of that, but tainted with a bit of pathos once in a while.
Much of her resource material is taken from the radius which regularly surrounds her, often making drawings, photographs or notes of typically human made/built things – with human touched and weather aged patina all over it, but no humans in sight. Not much of the natural world either. It used to be the sea which inspired her work, due to it's ability to put everything into persepctive, but now she's a lot older, somehow looking at all these places and objects which have been touched and gradually changed by so many people, and days, feels even more moving than the sea. For now at least.