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Contemporary Art,
Manchester, England
Interest free credit available via the 'Own Art' scheme
click on the logo for more info
Sarah Gilman
Contemporary painter, Cheshire, UK
Oil on canvas on board 15 x 15cm (x 3) £1120
...after Harmen Steenwyck I 2020 Oil on canvas on board 20.3 x 15.2 cm £530
...after Harmen Steenwyck II 2020 Oil on canvas on board 20.3 x 15.2 cm £530
Oil on canvas on board 40.6 x 30.8 cm £800
Oil on canvas on board 40.8 x 30.7 cm £670
Oil on canvas on board 25.5 x 20.5 cm £650
Oil on canvas on board 20.5 x 15.5 cm £400
2019 Oil on canvas 60 x 50 cm £1500
Oil on board 20.5 x 25.3 cm £650
Oil on canvas board 25.5x20.5cm £650
Oil on canvas 15x15cm £375
Oil on canvas 20x20cm £650
Oil on canvas 20x20cm £650
Oil on canvas 20x25cm £700
Oil on canvas 20x20cm £400
Oil on canvas 20x25cm £450
Oil on canvas 20x25cm £650
SOLD
About the Artist
Sarah Gilman is a painter currently based in the Merseyside area. Gilman studied Fine Art Painting (BA Hons) at University Centre St Helens and graduated in 2018 with First Class Honours. She has exhibited both locally and nationally since 2017 and was awarded First Prize at St Helens Open Arts Prize 2019.
Recent exhibitions include: New Light Art Prize 2020-21, Scarborough, Newcastle, Carlisle, and London; Somewhere Between Reality and Obscurity: The Viewing Room, Digital Gallery; Independents Biennial 2021, online and newspaper publication; Regarding the Object (solo show), Liverpool; Enough is Definitely Enough, Salford and Middlesbrough; More T’North, Preston; A Little Painting Show, Manchester,Liverpool and Leeds; Made It, Salford; PAINT, Manchester; Greater Manchester Arts Prize, Bolton; New Light Art Prize 2017-19, County Durham, West Yorkshire, London and Cumbria.
Gilman’s work is held in a number of private collections and has recently been included in the publication and exhibition entitled “Enough is Definitely Enough” by Andrew Bracey.
Statement
Sarah Gilman’s painting practice explores the relation of trompe l'oeil to the genre of still-life painting. The French term meaning ‘to deceive the eye’ is used to describe paintings that are intended to fool the viewer into believing, if only for a moment, that what they see is the projection of a three dimensional object into real space, rather than an illusion held on the surface of a flat plane. Directly influenced by the paintings of 17th century still-life painters, such as Cornelius Gijsbrechts and Samuel van Hoogstraten, Gilman, however, situates her painting within contemporary discourses surrounding the still-life genre.
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