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Sarah Cain, ‘untitled (splattered prism)’, 2016, Galerie Lelong & Co.
Sarah Cain, ‘untitled (splattered prism)’, 2016, Galerie Lelong & Co.
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Sarah Cain

untitled (splattered prism), 2016

Acrylic and beads on canvas
22 × 18 in
55.9 × 45.7 cm
$15,000 - 20,000
Location
Paris, New York
Have a question? Visit our help center.
Sarah Cain
American, b. 1979
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In her expansive painting practice, Los Angeles-based artist Sarah Cain pushes the limits of her discipline. Cain’s work often stretches beyond the two-dimensional plane; she paints on found objects and loosely hung swaths of cloth, which are closer to installation art than traditional painting. “At the core of my work is a challenge to abstract painting—an attempt to expand it,” Cain has said. “It comes from a deep love, but also from an unsettled feeling.” Cain does not limit herself to any style or technique, combining hard-edge abstractions with loose, gestural strokes, and embellishing her pieces with found objects or craft materials. This refusal to cohere to conventional notions of abstract painting reflects the breadth of Cain’s influences—including abstract expressionism, photography, the artist Ana Mendieta, and ceramics—and her desire to dismantle the male-dominated history and traditions of painting.

Sarah Cain, ‘untitled (splattered prism)’, 2016, Galerie Lelong & Co.
Sarah Cain, ‘untitled (splattered prism)’, 2016, Galerie Lelong & Co.
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
Sarah Cain
American, b. 1979
Follow

In her expansive painting practice, Los Angeles-based artist Sarah Cain pushes the limits of her discipline. Cain’s work often stretches beyond the two-dimensional plane; she paints on found objects and loosely hung swaths of cloth, which are closer to installation art than traditional painting. “At the core of my work is a challenge to abstract painting—an attempt to expand it,” Cain has said. “It comes from a deep love, but also from an unsettled feeling.” Cain does not limit herself to any style or technique, combining hard-edge abstractions with loose, gestural strokes, and embellishing her pieces with found objects or craft materials. This refusal to cohere to conventional notions of abstract painting reflects the breadth of Cain’s influences—including abstract expressionism, photography, the artist Ana Mendieta, and ceramics—and her desire to dismantle the male-dominated history and traditions of painting.

Sarah Cain

untitled (splattered prism), 2016

Acrylic and beads on canvas
22 × 18 in
55.9 × 45.7 cm
$15,000 - 20,000
Location
Paris, New York
Have a question? Visit our help center.
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