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The painting, "Seen but not heard, heard but not seen." started when I revisited a failed painting. I had painted a series of women, based on photos from 1950’s and 60’ magazines. Each woman was contained in a separate section of a grid. My response to the original source material was complicated: both nostalgic for their apparent glamour and poise and repelled by their controlled demeanor. Years later, I decided to paint a contemporary home over the women. The home was designed in a mid century modern style. With its idealized aspirations and current revival, this style of architecture embodied aspects of family and the American dream. Suddenly these women became ghosts in the space as they were both revealed and covered up by paint. This has a unique paint surface in that there are areas that are more thickly painted, like the fireplace, and there are parts that are more drippy. This I believe amplified the layered quality of the painting. The Untitled Women Series: My female relatives were quilters, cooks, and crafters. Although they did not call themselves artists, they decorated their spaces by adorning their walls with stencils, embroidering pillows, and stitching doilies. A home holds dreams fulfilled, forgotten, and foiled. While sifting through old magazines I collected, among other things, images of women that seemed particularly telling about female roles and self-image these became the starting point for a serious of collages and paintings.
The painting, "Seen but not heard, heard but not seen." started when I revisited a failed painting. I had painted a series of women, based on photos from 1950’s and 60’ magazines. Each woman was contained in a separate section of a grid. My response to the original source material was complicated: both nostalgic for their apparent glamour and poise and repelled by their controlled demeanor. Years later, I decided to paint a contemporary home over the women. The home was designed in a mid century modern style. With its idealized aspirations and current revival, this style of architecture embodied aspects of family and the American dream. Suddenly these women became ghosts in the space as they were both revealed and covered up by paint. This has a unique paint surface in that there are areas that are more thickly painted, like the fireplace, and there are parts that are more drippy. This I believe amplified the layered quality of the painting. The Untitled Women Series: My female relatives were quilters, cooks, and crafters. Although they did not call themselves artists, they decorated their spaces by adorning their walls with stencils, embroidering pillows, and stitching doilies. A home holds dreams fulfilled, forgotten, and foiled. While sifting through old magazines I collected, among other things, images of women that seemed particularly telling about female roles and self-image these became the starting point for a serious of collages and paintings.
The painting, "Seen but not heard, heard but not seen." started when I revisited a failed painting. I had painted a series of women, based on photos from 1950’s and 60’ magazines. Each woman was contained in a separate section of a grid. My response to the original source material was complicated: both nostalgic for their apparent glamour and poise and repelled by their controlled demeanor. Years later, I decided to paint a contemporary home over the women. The home was designed in a mid century modern style. With its idealized aspirations and current revival, this style of architecture embodied aspects of family and the American dream. Suddenly these women became ghosts in the space as they were both revealed and covered up by paint. This has a unique paint surface in that there are areas that are more thickly painted, like the fireplace, and there are parts that are more drippy. This I believe amplified the layered quality of the painting. The Untitled Women Series: My female relatives were quilters, cooks, and crafters. Although they did not call themselves artists, they decorated their spaces by adorning their walls with stencils, embroidering pillows, and stitching doilies. A home holds dreams fulfilled, forgotten, and foiled. While sifting through old magazines I collected, among other things, images of women that seemed particularly telling about female roles and self-image these became the starting point for a serious of collages and paintings.
The painting, "Seen but not heard, heard but not seen." started when I revisited a failed painting. I had painted a series of women, based on photos from 1950’s and 60’ magazines. Each woman was contained in a separate section of a grid. My response to the original source material was complicated: both nostalgic for their apparent glamour and poise and repelled by their controlled demeanor. Years later, I decided to paint a contemporary home over the women. The home was designed in a mid century modern style. With its idealized aspirations and current revival, this style of architecture embodied aspects of family and the American dream. Suddenly these women became ghosts in the space as they were both revealed and covered up by paint. This has a unique paint surface in that there are areas that are more thickly painted, like the fireplace, and there are parts that are more drippy. This I believe amplified the layered quality of the painting. The Untitled Women Series: My female relatives were quilters, cooks, and crafters. Although they did not call themselves artists, they decorated their spaces by adorning their walls with stencils, embroidering pillows, and stitching doilies. A home holds dreams fulfilled, forgotten, and foiled. While sifting through old magazines I collected, among other things, images of women that seemed particularly telling about female roles and self-image these became the starting point for a serious of collages and paintings.
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Seen but not heard, heard but not seen. Painting

Sarah Paulsen

United States

Painting, Oil on Wood

Size: 25.5 W x 25.3 H x 3 D in

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About The Artwork

The painting, "Seen but not heard, heard but not seen." started when I revisited a failed painting. I had painted a series of women, based on photos from 1950’s and 60’ magazines. Each woman was contained in a separate section of a grid. My response to the original source material was complicated: both nostalgic for their apparent glamour and poise and repelled by their controlled demeanor. Years later, I decided to paint a contemporary home over the women. The home was designed in a mid century modern style. With its idealized aspirations and current revival, this style of architecture embodied aspects of family and the American dream. Suddenly these women became ghosts in the space as they were both revealed and covered up by paint. This has a unique paint surface in that there are areas that are more thickly painted, like the fireplace, and there are parts that are more drippy. This I believe amplified the layered quality of the painting. The Untitled Women Series: My female relatives were quilters, cooks, and crafters. Although they did not call themselves artists, they decorated their spaces by adorning their walls with stencils, embroidering pillows, and stitching doilies. A home holds dreams fulfilled, forgotten, and foiled. While sifting through old magazines I collected, among other things, images of women that seemed particularly telling about female roles and self-image these became the starting point for a serious of collages and paintings.

Details & Dimensions

Painting:Oil on Wood

Original:One-of-a-kind Artwork

Size:25.5 W x 25.3 H x 3 D in

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I make work about subcultures, outsiders, and the informal configurations of community. Primarily I work with paint, but I have been animating my paintings and collages for the past ten years. With these mediums, I enjoy telling the story of a person or place. Raised in Kirkwood, Missouri, Sarah Paulsen is an artist, filmmaker and community organizer whose artwork has been exhibited widely in local and national exhibitions, and whose prize-winning films have been featured in the St. Louis International Film Festival, the True/False Film Festival, the Black Maria Film Festival, the Motivate Film Festival and the Chicago International Children's Film Festival, among many others. She was a 2018 Great Rivers Biennial Winner culminating in an exhibit at the Contemporary Art Museum, St. Louis. A 2010 C.A.T. Institute fellow and 2015 Regional Arts Commission Artist Fellow, she has garnered numerous awards for her work and also completed several residencies – including the Cite Internationale des Arts, Paris. A dedicated advocate for social change, a key aspect of Paulsen’s practice has always involved the orchestration of large-scale community projects, such as participatory public murals, thematic round-table discussions and the now-annual People’s Joy Parade on Cherokee Street, currently in its ninth year. Paulsen holds a B.A. in visual art from the University of Missouri, Columbia and an M.F.A. from the Sam Fox School of Design and Visual Art at Washington University. She lives and works in St. Louis, where she teaches art and animation at Marian Middle School and local colleges.

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