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Sarah Gilman
Contemporary painter, Cheshire, UK
Oil on canvas on board 25.7x20.5cm £695
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 canvas on board 20.5 x 15.5 cm £495
Oil on board 20.5 x 25.3 cm £650
Oil on canvas 30x25cm £725
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’s recent painting practice has explored 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.
Gilman’s use of trompe l’oeil reminds us, after the initial encounter with illusion - an appreciation of the artfulness of illusion, that this mimetic project ultimately leads us back to the material of paint. In this sense Gilman’s practice could be described as an interest in the relation between painting and cognitive self-reflexivity – the mechanics of painting by which we are made aware of the fact that we are thinking about the act of looking and we are thinking about this act of thinking. Another kind of painting that promotes this self-reflexivity, and one that Gilman’s current painting explores is the meta-picture – pictures within pictures.
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