In her practice, Sarah explores methods of creating with code that expand the relationship between machine and artist, allowing for error and dialogue from both sides. Likewise, aesthetically she seeks a look distinct from current shader-driven computer works, with their focus on 2D fractals or high-specular 3D. She is also eager to explore a computer art that is about the medium itself, rather than about the concept of computers making art.
In her most recent work, she engages the digital medium as a medium (rather than a concept) via a focus on abstraction and movement. This is similar to the way abstract expressionism and minimalism were about the materiality of paint and industrial materials or the film experiments of Norman McLaren are about the nature of film itself.
Combining browser animation capabilities, frame-driven rhythms, and oversized patterns drawn from analog printing techniques — particularly for mid-century data visualization — she endeavors to create works that embody a lineage from suprematism, pop art, color field paintings, and minimalist works in a new medium. Or, as she once said on Twitter, I look to answer the question, What if Agnes Martin and Roy Lichtenstein had a baby who learned to code?