About Sara Steele
Watercolorist Sara Steele approaches her work as a sacred kind of play that follows her meandering curiosity. Her medium demands a respect for the accident. A meditative discipline, watercolor allows Steele to move with that which cannot be controlled. She understands its need to flow, guiding its intentions through discussion. Steele has said that in this conversation, one dialogue is of making, the other of looking. She sees color as a nutrient, is native to its fluidity, and empathizes with the medium.
Steele describes her art-making process as an amplification of her vision, an intimate exchange, and a seeing of the colors behind color.
“Indigo is almost black at full strength, it’s a beautiful blue-gray when pale, and mixes well with other colors. It’s a mysterious pigment.”
These words describe the painter herself, an auto-didact who is strong in vision and flexible in exploring subjects. She applies ecstatic, undivided attention to her work inviting viewers to drench themselves in color and light. Perhaps because of her subject matter, Steele is often described as the O’Keefe of her generation, but she sees her work as worlds apart.
Based in Philadelphia since 1959, her travels — from the Pacific and New England coasts, to the Hawaiian and Canary Islands, to the American Southwest desert — are evident in her large-scale landscapes. Steele’s close observations of the natural world reveal themselves in her floral work as well. Although some paintings can be read as botanical illustrations, her floral forms are actually the means to colorist and expressionist ends.
Steele enters each of her works through surprisingly varied and incremental pathways. Her deeply imaginative process and technically challenging medium complement and enrich one another. Cultural, natural and conceptual influences serve as her inspiration and seep into the terroir of her paintings.
Traditional Chinese medicine, philosophy and language are abstract tools with which Steele delves into her own psyche and what Jung called “the collective unconscious.” Her 40-year of study of the I Ching’s metaphorical language informs the numinous framework of her paintings. The primal logic and rich resonance of Chinese ideograms in her work are consilient with her expansive use of color.
Her fascination with traditional Chinese culture is integral to her annual calendar, now in its thirty-fifth edition. Her ongoing creative endeavors include a limited number of commissions each year. Steele’s original paintings are included in over two hundred public and private collections, and have been exhibited in galleries and museums throughout the United States and Europe.