Sarah Gilman

Contemporary painter, Cheshire, UK

Lockdown 1: Mid Century Cupboard, 2020
Oil on canvas on board
25.7x20.5cm
£695
Process (triptych), 2018
Oil on canvas on board
15 x 15cm (x 3)
£1120
Trompe l'oeil of postcard on pink..
...after Harmen Steenwyck I
2020
Oil on canvas on board
20.3 x 15.2 cm
£530
Trompe l'oeil of postcard on pink...
...after Harmen Steenwyck II
2020
Oil on canvas on board
20.3 x 15.2 cm
£530
Still life of a painted sculpture, 2019
Oil on canvas on board
40.6 x 30.8 cm
£800
Still life in the studio, 2020 .2
Oil on canvas on board
40.8 x 30.7 cm
£670
Trompe loeil sellotape on Purple Grey II, 2019
Oil on canvas on board
25.5 x 20.5 cm
£650
Trompe loeil sellotape on green III, 2019.
Oil on canvas on board
20.5 x 15.5 cm
£400
Trompe Loeil of Studio Images II
2019
Oil on canvas
60 x 50 cm
£1500
Lockdown 1 Flora 1, 2020
Oil on canvas on board
20.5 x 15.5 cm
£495
Pretty in Pink, 2018
Oil on board
20.5 x 25.3 cm
£650
Pretty in Pink, side view, 2018
Lockdown 1 Exterior Wall, 2020
Oil on canvas
30x25cm
£725
GILMAN Sellotape on purple-grey_2019 (1)
Blue, 2018
Oil on canvas
15x15cm
£375
Untitled, 2019
Oil on canvas
20x20cm

£650
Plaid, 2018
Oil on canvas
20x20cm
£650
Sellotape on purplegrey #1, 2019
Oil on canvas
20x25cm
£700
Cross Head Screw #2
Oil on canvas
20x20cm
£400
Flat Head Screw #2.
Oil on canvas
20x25cm
£450
Telephone Socket
Oil on canvas
20x25cm
£650
Cross Head Screw #1
SOLD
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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.

© 2020 by Saul Hay Fine Art
Manchester, UK
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Untitled, 2019

Oil on canvas 20x20cm £650