Sarah Sutton’s painting practice centers on the fluidity of boundaries using analog models of digital technology to construct complex still images. The real and the virtual co-mingle to create a spectral uniformity, with a constantly shifting figure/ground. Bodies exist as points among endless coordinates embedded in and inseparable from the environment.
The surface of the paintings are so flat that the grayscale paint appears to recede into the surface. The imagery is layered and overloaded and from afar looks like a multifaceted jewel. When one looks closer however, from the shards emerges a dazzling visual ruin of late capitalism – glimpses of luxury and crumbling sweatshops; the body and the environment equally in decay.