Sarah Awad - Press

Sarah Awad

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March 25, 2016
Sarah Awad
Bridget Watson Payne
Pippa's Cabinet

I had a great time visiting the fine folks at the Dryansky Gallery the other day. It was the last day of their show In the Footsteps of Masters. The show featured three fantastic artists--but the one whose work I loved most of all was Sarah Awad. At first glance you might think her paintings are entirely abstract, but upon closer inspection they reveal themselves to be female nudes. Her brushwork is masterly and the colors are phenomenal... Read More


November 19, 2015
Sarah Awad
by Evan Moffit
Art in America

Sarah Awad’s paintings are sluices barely holding back a flood of Fauvist color. An emerald canopy bursts through an indigo grate. Dark leafy smears clash with splashes of fluorescent lime. Warring daubs of crimson and cornflower capture the full flame of a desert sunset. Awad’s previous work played with odalisques and other motifs from classical painting. For the 12 medium-size paintings in “Gate Paintings,” her fourth solo show, she has turned her gaze to ornament. In each painting, she renders a metal gate with broad strokes of oil on a canvas coated in matte Cel-Vinyl. The airy garden glimpsed through the subtle suggestion of a grid pulls the viewer into the picture...Read More


October 5, 2015
Sarah Awad Locks Us Out and Lets Us In with her Lush Gate Paintings
by Maxwell Williams
Artsy Editorial

Gates can be entryways, exits, portals, or obstacles. Rich in symbolism, they can mark the only way into a city, a palace, a religious site, or even heaven.  But the gates that Sarah Awad captures in her broad-stroked, Fauvist abstractions are the fanciful metal barriers one sees around mansions. Functional yet often ornamental, with wrought iron loops and decorative motifs, they are an embellished take on an somewhat ugly security measure...Read More


February 26, 2014
Literally Figurative: Sarah Awad
by Jason Ramos
New American Paintings

From John Berger to Laura Mulvey to Lynda Nead, the female nude is a subject of discourse unto itself.  For the informed and learned viewer of art, and in particular of modern and contemporary painting, Awad's recent work serves a satisfying contribution to the story, one that stands alongside the above mentioned contributions of Brown, Dumas and Currin in terms of their influential takes on similar subject matter. Where Awad differs from them, and consequently excels, is in her dispensing of the need to mine contemporary popular culture sources such as pornography in order to make a productive statement regarding the established art format of the female nude.  Instead, Awad's work takes its cues from specific points in art history's record of such format –  points where the basic structures of Classicism were decades into a modern mulling-over and restatement...Read More


January, 2014

Sarah Awad: "The Women" at Diane Rosenstein Fine Art
by Eve Wood
Art Ltd.

It's well known that the Fauvists had a tremendous zest for life, a passionate and sometimes extraordinary relationship to the world around them. Self described by Matisse as stylistically extravagant, they considered themselves maverick thinkers. In keeping with this same visual rubric for bold colors and a spontaneous objective response to nature, Sarah Awad delivers a sweetly satisfying cornucopia of lush imagery in her most recent exhibition at Diane Rosenstein Fine Art, bluntly titled "The Women." For this show, Awad's paintings are divided into two groups: large-scale female nudes and landscapes. Yet, compositionally, these two distinct categories are at once blurred though vaguely connected through space and movement...Read More