For May’s Meet the Maker, we’re delighted to introduce artist and printmaker Sarah Woods, whose quietly captivating work is handprinted in her studio in Newlyn, Cornwall. Rooted in a deep connection to the landscape and sea, her work is inspired by the rhythms of nature and a simplicity of process. Through slow, meditative mark making and soft, tonal compositions, her prints capture the stillness of coastal life - translating shifting light, gentle hues and the softness of the ocean into pieces that feel both timeless and deeply personal. We loved learning more about Sarah’s process, from her calm, light-filled studio to the coastal surroundings that continue to shape and inspire her beautiful work.

What drew you to become an artist? 

I was drawn to a livelihood centred around the landscape and sea, and the ability to shape my life around the values of living simply, beside the ocean and in tune with nature. From a young age I was drawn to the notion of being self-sustainable and seeking alternative ways of living sufficiently alongside the land. I had little expectation of where I would find myself and really it was very intuitive - my practice as an artist deepened when I was awarded one of the Porthmeor Studios, and where I’m currently based at Trewarveneth Studios in Newlyn. I’ve always been drawn to studying the forms of the landscape and to the meditative process of working by hand, bringing focus to the materiality of my works and the time it takes to create each piece, whether a painting or an etching print.

What are the influences for your work? 

My etching prints are influenced by the repetition of a single mark or movement, which is a process often found in Japanese printmaking and Taoist practices. There’s a feeling of slowing down in the process of mark making that to me, really reflects the feeling of being within the landscape or at the water’s edge. Although very different mediums, my paintings are also influenced by this approach to mark making, often working tonally in areas of light and dark, observing balanced compositions and drawing my palette from gentle and considered hues. I admire the works of artists including Georgia O’Keeffe, Agnes Martin and Barbara Hepworth, particularly their draw to the simplicity of process and a connection to place.

Could you describe a typical day in the studio?

Each day in the studio is so full of light and space. I’ll often begin the morning with some time along the coast, as we live right beside the water on the west coast, before making my way to the studio. I balance my time between paintings and prints in the studio - if making prints the rhythm will be a little more methodical. The etching plates are prepared by hand and printed on my etching press, and the process is very considered and slow. Painting brings more movement as I work large scale, stretching canvases and painting each piece on the floor, moving around the painting and applying wide, sweeping brush strokes. There’s a gentle flow through each day - it’s the quietest space which allows a meditation of colour, space and form.

When are you most inspired?

I’m most inspired when outside, surrounded by light and colour and aware of a feeling of openness, noticing the textures of the landscape and visualising how I might translate what I see and feel onto canvas or paper. I’m in harmony when my days are balanced between the coast and the studio, connected to the tactility of everything - from the weightlessness of swimming in a cold ocean, the warmth of the spring sunshine, to the softness of brush strokes and the richness of my palette. I’m always navigating how to create a feeling of something through my practice, whether a feeling of calm or understanding how to make work that holds space and stillness. I think my curiosity within painting is so connected to imagination, which to me, is essential for feeling inspired.

What are your favourite moments within your work and practice?

My favourite moments are when I create a painting that really connects to something I had visualised. It’s the loveliest feeling when I’m in the studio working on a new collection and the time totally disappears. I come away from the space unaware of my thought process, which is the most exciting feeling. When I’m able to reach a place of no thought, I really enjoy seeing what comes through in my paintings. I enjoy the time it takes to work towards an exhibition and sharing my works in a gallery, having the collection framed and showing in a beautiful space, and seeing how the works connect to people in different ways – I’m always so interested to hear how people may relate to an observation or a feeling of something I’ve painted.

Is there anything you’re loving this Spring?

Spring is one of my favourite times of year. We have a plot of land near to where we’re living and we’ve recently started to clear some space to grow veg and flowers. I dream about creating the most beautiful garden eventually - there’s an old greenhouse and a few apple and damson trees already there, so I’m really enjoying this as a little project to see how it will develop with the seasons. I’ve also been swimming in the sea more recently and I’m really enjoying the longer, brighter evenings.

Many thanks, Sarah! @_sarahwoods

Shop Sarah Woods