Sarah Lake

My work explores the quiet presence of objects and architectures that shape our material world. I am drawn to the universal geometries and elemental forms that have guided human construction since the earliest civilisations, and to the symbols and rituals that continue to echo through these structures.

I am particularly interested in the spiritual impulses that run through human culture and the ways meaning and significance are projected onto objects and forms. Even the most ordinary materials can become charged with symbolic resonance. Through these external representations we attempt to give shape to experiences that resist language, allowing objects and structures to communicate ideas that cannot easily be expressed through words alone.

Working across collage, printmaking and sculpture, I approach making as a process of excavation and reconstruction. Through repetition, experimentation and careful refinement, forms emerge gradually. Each work becomes part of an ongoing investigation into the relationships between material, space and meaning.

Fragments of wood, cast concrete and layered prints evoke traces of monuments, temples or relics from an imagined past. In the sculptural series Muses and Monoliths, reclaimed wood is reformed into geometric structures reminiscent of ancient artefacts, while concrete casts echo their presence with a sense of permanence and ritual weight.

Influenced by movements such as Suprematism, Minimalism and Geometric Abstraction, my work sits between the architectural and the symbolic. Simple forms become vessels for memory, myth and speculation.

I see these works as quiet portals. They invite a pause—a moment to reconsider the familiar materials and structures that surround us. Through abstraction and form, I hope to create spaces of curiosity and contemplation, where the ordinary can shift into something imagined, ancient or unknown.