From Soul: to Canvas Sarah Hickey on Life, Art, and the Human Experience

In this captivating episode, we sit down with Sarah Hickey, one of Australia’s most introspective and emotionally resonant painters. Known for her luminous portraits and dreamlike compositions, Sarah takes us behind the brush to share her creative process, artistic philosophy, and how intuition guides her every stroke. From exploring themes of feminine energy, memory, and emotional truth, to balancing art, family, and purpose, this heartfelt conversation reveals the layers of an artist who paints not just what she sees — but what she feels.

✨ Listen if you love:

• Art, creativity, and storytelling
• Deep, meaningful conversations with artists
• Contemporary Australian art and culture
• Insights into the emotional and spiritual side of painting

📍 Keywords
Sarah Hickey, Australian painter, Australian artist, contemporary art podcast, art interview, female artists, creativity podcast, painter stories, artist inspiration, art and emotion, painting process, artistic journey

Australian painter Sarah Hickey whose bold colors radiate through her expansive canvases expressing an internal world of dreaming and reflection through her spirituality and imagination. We hear how Sarah’s creative soul was evident in her childhood as she explored a range of visual elements from theater to fashion and iconography. Sarah was born in Brisbane in 1975 and grew up in the surrounding area.  She was educated at Queensland College of Art where she earned a BFA in Visual Art and a BEd at Griffith University. Parents Eileen and Paul gave Sarah and her younger brother Sean the freedom to explore, which enabled Sarah to connect with nature in a spiritual sense—something that is constant in her paintings. While in high school, Sarah visited England, France and Spain when she became enthralled by European artists. After she graduated college she spent time in Germany as a nanny living her own version of her favorite film, The Sound of Music. Sarah was always drawn to teaching and has been a High School Art teacher for 23 years. After her marriage to George Hickey, Sarah returned to her art and has participated in numerous shows and exhibitions, and garnered several awards including The Percival Portrait and Sunshine Coast National Art Prize, The Kennedy Art Prize, Redland Art Awards. Sarah lives in Brisbane with her husband George and dog Molly.

Sarah's website: https://sarahhickey.com.au/
Instagram:@sarahhickeyart 

Some of Sarah’s favorite artists:
Frida Kahlo
Lucy Culliton (Australian painter)
Clairy Laurence (sculptor)
Laura Jones (Australian painter)
Yvette Coppersmith
Julie Fragar
Judith Nangala Crispin
Olivia Godbee 
Alicia Cornwell 
Penelope Boyd 
Wendy Sharpe 

Host: Chris Stafford
Produced by Hollowell Studios
Follow @theaartpodcast on Instagram
The AART Podcast on YouTube
Email: [e-mail]

Become a supporter of this podcast: https://www.spreaker.com/podcast/women-unscripted--4769409/support.

Episode Transcript

Speaker 1 (00:00):
I'm Sarah Hickey and I'm a painter.

Speaker 2 (00:06):
Hello, and welcome to Art, the podcast where we get
to know women from around the world of visual arts.
I'm Chris Stafford and this is season three, Episode twelve.
My guest this week is the Australian painter Sarah Hickey,
whose bold colors radiate through her expansive canvases, expressing an

(00:31):
internal world of dreaming and reflection. Through her spirituality and imagination,
we hear how Sarah's creative soul was evident in her
childhood as she explored a range of visual elements, from
theater to fashion and iconography. Sarah was born in Brisbane
in nineteen seventy five and grew up in the surrounding area.

(00:55):
She was educated at Queensland College of Art, where she
earned a BFA in Visionrual Art, and the beed at
Griffith University. Parents Eileen and Paul gave Sarah and her
younger brother Sean the freedom to explore, which enabled Sarah
to connect with nature in a spiritual sense, something that

(01:16):
is constant in her paintings. While in high school, Sarah
visited England, France and Spain with her family, during which
time she became enthralled by European artists. After she graduated college,
she spent time in Germany as a nanny, living her
own version of her favorite film, The Sound of Music.

(01:37):
Sarah was always drawn to teaching and has been a
high school art teacher for twenty three years. After her
marriage to George Hickey, Sarah returned to her art and
has participated in numerous shows and exhibitions and garnered several awards,
including the Percival Portrait and Sunshine Coast National Art Prize,

(01:58):
the Kennedy Art Price, Redland Art Awards, and many more.
Sarah lives in Brisbane with her husband George and dog Molly. Sarah,
Welcome to the podcast, All the way from Brisbane, Australia.

Speaker 1 (02:13):
Oh hello, I'm so happy to be here.

Speaker 2 (02:16):
We're thrilled to have you here because we've had a
friend of yours on the show, Natasha Rushka.

Speaker 3 (02:22):
I know that's so lovely, such a kismet full circle moment.

Speaker 2 (02:27):
Yeah it is. And you know each other's works. Now
you've met and you've I understand, bought each other's work,
which is lovely.

Speaker 3 (02:34):
I love that. Yes, yeah, it's lovely. The Internet is
such a small world. It's beautiful where you can reach
out to somebody and then connect and then you know,
all of a sudden you have them meet you in
the flesh.

Speaker 1 (02:49):
It's lovely.

Speaker 2 (02:52):
I think I've mentioned to you know how art this
podcast has kind of created a community of women, you
know who who now start following each other on Instagram
and they visit each other's websites and get to know
women perhaps not just in their genre of visual arts,
but well beyond. So I love that about the show.
So welcome to the family.

Speaker 1 (03:13):
Oh, thank you.

Speaker 2 (03:15):
And well we're going to talk about your family because
you're from and actually you're from an artistic family. Are
you some very talented people in the family.

Speaker 3 (03:25):
Oh? Look, My great uncle Jack my dad's side, was
a painter and so he as I grew up, he'd
have a chat to me about his painting. And my
granddad from my mom's side, he he was very good

(03:49):
with his hands. He worked on aircraft in World War Two.
He built houses in England and Australia, and he did
things like decorate cakes.

Speaker 1 (04:03):
So he wrote poetry.

Speaker 3 (04:07):
He was a very creative man, and I think my
grand and granddad were a creative team together.

Speaker 1 (04:13):
They were avid gardeners, and so they would do the.

Speaker 3 (04:19):
Equivalent of flipping a house that they'd rent in the sixties.
Whether the poor owners wanted it or not, I'm not
too sure, but.

Speaker 1 (04:28):
They'd rent a house and they'd knock down.

Speaker 3 (04:30):
Walls, redo the kitchen, flat, replant the garden, and then move.

Speaker 2 (04:42):
Have you picked up any of those talents from decorating cakes?
Can you sew?

Speaker 3 (04:50):
I'm forty nine years old, so I'm always looking on
real estate dot Com and thinking, Oh, I'd paint that white.

Speaker 1 (04:58):
I'd do that.

Speaker 2 (05:02):
Because your palette is very vivid altogether, Sarah. You know
it's I love the bright colors. You're very bold. Does
that tell me? What does that tell me about you?
Are you very bold and colorful?

Speaker 3 (05:17):
I think it's color is used in so many cultures,
and it's it's really interesting the battle that I have
with myself with color, because I think sometimes to be
serious and sensible, it's more tonal and restrained color palette

(05:39):
that's used. And you know, as I get older, the
color palette is changing. But when I first started making art,
it was really important to me to connect to those
really rich, vibrant primary colors that you do as a kid.
And I think there's a kind of rebellion too, which

(06:01):
I really love with colorful dressing. Women over fifty really
embracing you know, the non besias and the the kareams.

Speaker 1 (06:13):
You know, it's like they're they're in.

Speaker 3 (06:17):
Their full glory and they're embracing pattern and color. And
I see women in Africa and you know India, I mean,
of all ages, just embracing color in their culture.

Speaker 1 (06:29):
It's a joy. It's a celebration. And I suppose.

Speaker 3 (06:35):
When I paint there is a certain amount of joy
and celebration that I feel when I'm having that conversation
with myself. But you know, I have been toying lately
with the idea of restraining that color to a certain extent.
And maybe wouldn't it be interesting if I decided to

(06:55):
do a you know, a tonal series of blacks and whites, grays,
and what would happen then to these figures and characters
that I have archetypes that I create. So yeah, it's
an interesting area. I know, the Australian contemporary art scene,

(07:19):
you know, you will see a restrained color palette for
you know, serious contemporary artists, you know, And yeah, there's
something interesting there's a push in a pull with color
and how it's perceived and how it's but for me,

(07:42):
for me, it's it's just a joy, you know. I
see color and uh, there's an excitement and a vibrance
and for me it just represents life.

Speaker 2 (07:54):
Yeah, and I used a bold and daring then in
your in your own choices of coloring and what does
what you wear and your interior design, you talked about,
you know, having the imagination of what you would do
in houses. I does does this color colorful color palette,
does it spread to all areas of your life?

Speaker 1 (08:14):
Well?

Speaker 3 (08:15):
Really interesting question there because I have always loved fashion.
I remember, you know, drawing designs as a kid and
with my art a couple of years ago, I created
some colorful kimonos and some velvet capes and jackets and

(08:37):
that was so exciting for me. And I suppose I
am known for dressing very colorfully when you know I'm
at a show, et cetera. But I love being a chameleon.

Speaker 1 (08:52):
I don't.

Speaker 3 (08:53):
I don't love being stuck with that one idea of
who I am. I love it's almost very theatrical. What
role do I want to play today? And in terms
of clothing. I love the idea that our plumage can
really send a message, it can protect us to a

(09:17):
certain extent. I ofn't found fine that wearing very colorful outfits.
It's almost like a protective That's why I was really
interested in creating these velvet capes, because it felt like
you're a bit of a superhero and you've got this
sort of magical protective garment around you. If I don't

(09:40):
want to be seen, I'll wear all black and then
I'll just slip to the shops and you know, sort
of disappear.

Speaker 1 (09:48):
And so yeah, it's really interesting to.

Speaker 3 (09:50):
Play with those ideas. As a high school art teacher,
I love embracing fashion in that sense, especially for kids,
because they're at that age that they're sort of are
not one hundred percent confident in expressing who they are,
and so I love being the crazy art teacher that
comes to school in a nutty outfit and they go,

(10:14):
oh my god, what is she wearing today? And so,
you know, without the suit and the tie and the
conservative So I think there's something joyous and really fun
and actually a little bit rebellious about the way that
you dress. And so I'm really interested in all of
those things.

Speaker 2 (10:35):
Yeah, I was thinking that this possibly is a rebellious
side of you that you shay yourself in different ways.
And it's almost, you know, putting on a performance in
a way, if you're going to an art show, right,
you can be who you want to be. And I
know that you express yourselves, you know, in an internal

(10:56):
world of dreaming and reflection. I think I read about you,
you know, with the complex layers of imagery and patterns.

Speaker 1 (11:03):
Yes, so you.

Speaker 2 (11:05):
Embrace all of that and I love that boldness as well.
But does that tell me that you are a very
confident person or does it depend on what you're wearing?
Does that embolden you in some way? Sarah? Depending on
what you wear?

Speaker 3 (11:30):
Oh, look, I've always loved theater and you know, as
a kid dressing up and you know, pretending to be
somebody else or you know, just yeah, exploring roles that
we play in life and personas it's really interesting. I think,

(11:57):
you know, there's a tendency to think, oh.

Speaker 1 (11:59):
Well, who really are you?

Speaker 3 (12:01):
You know, but I think there's an authenticity and a
heart in exploring all of these characters that I have
within me. I mean, I don't need to see landscapes
or still lives. There's enough material inside my heart and
mind to last me three lifetimes in terms of getting

(12:24):
to know who I am, who i'd like to be,
who I've been, where I'm going. It's really interesting to
reflect on this life and these experiences of who this
flesh suit is, you know, in this particular lifetime.

Speaker 1 (12:48):
And yeah, I think it's interesting.

Speaker 3 (12:51):
And I've just recently finished a self portrait where i
can see I'm physically changing and aging, and it's really
interesting to observe my external self and who I feel,
who I am on the inside. It's only sort of

(13:16):
just kick me in the last few years. It's that
wonderful mid midlife I think reflection, and I'll continue to
see myself changing, you know, in an external sense, but
also in an internal sense, and so there's always a
tension between those things, I think. And I love creating

(13:40):
these women and they're usually younger, and they'll always reside
in me. They're like friends or family or avatars or selves,
and so yeah, seeing them grow and develop with different
animal companions and then observing my self in my own life.

(14:01):
It's all a conversation between spirit, soul, me, them, us.

Speaker 2 (14:09):
I see an actor in you, Sarah, did you ever
think about doing this?

Speaker 1 (14:16):
It's funny you should say that.

Speaker 3 (14:17):
But in high school I applied for either doing acting
or fine art. And we have a thing in Australia.

Speaker 1 (14:29):
Oh, it's so classy. It's called Schoolly.

Speaker 3 (14:32):
So you go down to the coast after you graduate
and there's just a lot of young young people at
the Gold Coast and it's a big party for a week.
And so I went down there and I had to
audition in the middle of this week to this apply

(14:54):
for this Bachelor of Acting and Production. I was actually
as a kid, really interested in directing and creating, you know,
the visual side of things. So but I said, Mum,
don't pick me up. I'm fine. I'm doing fine art
because I got accepted into fine Art. So I thought, well,

(15:16):
that makes up the decision. I'm going to be doing
visual art instead. And so it's interesting how decisions are
made like that.

Speaker 1 (15:26):
I think too. I was more nervous.

Speaker 3 (15:30):
About applying for that particular degree, and I was more confident,
relaxed about doing the fine art degree.

Speaker 2 (15:43):
You could have done costume design as well in theater.

Speaker 1 (15:46):
Ah, that was something as well.

Speaker 3 (15:48):
Absolutely I'll leave all of these ideas to my next life.

Speaker 1 (15:52):
I think.

Speaker 2 (15:55):
There's all kinds of options here. Sarah. Yeah, I love
this and you know that you have brought this out
in such a way in your painting that says so
much about you. Right. That's the fun thing about this podcast.
We want to get to know that women behind their art,
and already you've told us so much about you. Know

(16:18):
where this comes from the heart and the soul of you,
and that there is so much creativity in you. The
possibilities are endless, and I'm going to see you wearing
all kinds of hats. But the path you chose clearly
has suited you very well. So you, as you mentioned,
you went to the Queensland College of Art in Brisbane

(16:39):
and then the Griffith University. You were born in Brisbane
in nineteen seventy five and you've got your family all
around you there because you never really moved very far
from from Brisbane, from the Gold Coast, from Queensland. And
is that because you feel very strongly connected to your root?

Speaker 1 (16:57):
Well?

Speaker 3 (16:58):
Interesting, yeah, question with Brisbane. The school thing is on
the Gold Coast, which is about an hour away, but
I've never actually lived on the Gold Coast, but the
Griffith University connection, I mean QCA Queensland College of Art
is Griffith. But also I did later on an education

(17:18):
degree after I did a fine art degree.

Speaker 1 (17:23):
Yeah, Brisbane now No. I think.

Speaker 3 (17:30):
In terms of travel, we did do a bit of
travel when we were younger. So when I was twelve,
before my mom and dad split, Mum took us overseas
because she's originally from England and.

Speaker 1 (17:47):
It was really important to her. I think they got married.

Speaker 3 (17:50):
Quite young twenties and when she immigrated with her family
to come out here with Grant and granddad, her sister
and brother. They originally came out because my Auntie Anne
wanted to viet Num, so they decided to follow her
and there was a good setup obviously over here. And

(18:14):
then so Mum felt a bit ripped away at thirteen
to move away from her friends and country, and so
I think it was really important when I was twelve
that and my dad knew it was important for her
as well to go back home on her terms and
really connect to her family and places there.

Speaker 1 (18:38):
And we got the opportunity.

Speaker 3 (18:41):
I think there was a deal at the time that
we could we could go if you got a quantus
flight to London, you can go to you know, Rome
or somewhere else in Europe.

Speaker 1 (18:53):
And so we did.

Speaker 3 (18:54):
We went to Italy and you know, my little twelve
year old mind was blown, you know, seeing the statue
of David and you know, michael Angelo's Frescos in the
Sistine Chapel, and so, you know, I think that experience
of travel, I think we all got the travel bug there.

(19:18):
But in terms of living in other places, really no.
I mean I nannied at a certain point in Germany
for eight months, nine months and so in a.

Speaker 1 (19:29):
Little town called Volstein.

Speaker 3 (19:30):
But I'm so cognizant that travel just opens your heart.

Speaker 1 (19:35):
Your mind, your eyes.

Speaker 3 (19:37):
You know, when I came back from that trip, my
artwork went from small to big because I was so
inspired by seeing those amazing, that amazing imagery and the
feeling it had in me as a kid was just
I want to move people like this, like that's amazing

(20:01):
visually that you can do that.

Speaker 1 (20:03):
And you know, again, you know Mom's.

Speaker 3 (20:07):
Side of the family, my grand and granddad, they'd routinely,
you know, get a piece of land, build a house
and then sell it and then go overseas not the
greatest financial planets, but it would be a means to
go again, you know, and go back home and visit.

(20:28):
My grand was Irish, so you know, they'd happily go
back to the UK and Ireland and you know, do
a round trip three months, four months, and then come
back and build again and do that. So I had
a great opportunity at twelve, and then again, you know,
when I was in year eleven at high school, Mum

(20:50):
sold the house and we went overseas, really amazing trip
Paris and Spain and America, New York and Hawaii, and
it was pretty.

Speaker 1 (21:08):
Decadent, amazing trip.

Speaker 3 (21:10):
So as a kid like those trips were incredible in
opening my mind to different art, different ideas, different ways
of being. But in terms of yeah, living anywhere else, No,
I'm such a Cantserian. I'm a crab. I need a

(21:31):
little house around me and I need my little space.
But I'm happy to go anywhere for any a length
of time and then come back and really gaze at
my navel and think, Wow, what have I seen there?
How can I dissect what I've experienced?

Speaker 2 (21:54):
I was just thinking when you mentioned it, your mum
and family emigrated back then I think it was like
a pound passage, wasn't it.

Speaker 1 (22:05):
Yes, yes, yes, yes, I was thinking what is it?
Is it ten pound palm or five pound pom?

Speaker 2 (22:13):
Anyway, I think it was as little as a pound palm.
I think it a pound. Oh yeah, I think it was.
If anyone's listening and had experience of this, please correct us, Stan,
I stand corrected. But it was anyway very cheap and
it was encouraged obviously they wanted to populate Australia at
that time, you know, in the sixties and fifties and sixties. Yeah,

(22:36):
but I'm curious when you mentioned you about your your
granddad on your mom's side, who he served in the war,
So do you know anything about his family and his
role in the war that where you told stories as
a child.

Speaker 3 (22:48):
Really interesting that my grandparents were quite cagy. They're quite lovely,
quite lovely, but they i'd really ask them questions about
how they met and but they'd always be forward leaning.
So they were. They didn't hold on to a lot.
They you know, they constantly moved. They moved quite a lot.

(23:12):
When when my mom was younger, and it.

Speaker 1 (23:15):
Was like, right, let's go, we've had enough.

Speaker 3 (23:18):
It's almost like I wouldn't be surprised if we had
a bit of Irish gipsy.

Speaker 1 (23:25):
In us, because there's.

Speaker 3 (23:27):
And it's so funny that I now live quite attached
to my home and where I am, and so you know, yeah,
it's interesting that they would move every six months or
you know, every year, or it would be a continual thing.
And I think Granddad, yes he did, he did work

(23:50):
for Dehablants and yeah, and he had this beautiful boss,
Bob who I mean. Grandad applied to be part of
the army or the air force, and he get he
kept getting rejected. I only found this out at his funeral.
Actually three times, and he found out that Bob his boss.

(24:17):
They'd they'd ring him and say can you let Derek
come into the forces, and he'd say, no, he's too
he's too valuable here.

Speaker 1 (24:29):
So we owe probably Bob a lot.

Speaker 3 (24:34):
I probably owe him my life because who knows what
might have happened if if he'd you know, been in
the forces, et cetera.

Speaker 1 (24:42):
So yeah, he was. He was very clever with his hands.

Speaker 3 (24:46):
He never had university you know, education or anything like that.
They were quite working class. Same with my dad's side,
so he was very clever with his hands. He could
work something out really quickly. He could play the piano
but never read the notes, but he could listen to

(25:08):
something and then play it, you know.

Speaker 1 (25:11):
So and I think, yeah, he built a house.

Speaker 3 (25:14):
Called jemmer Doll in England, and I mean it was
a beauty. It sounded beautiful and I've seen, you know,
some photos. We revisited it when we were in England
when I was twelve. But yeah, it's he just turned
his hand to anything and he could work it out.

Speaker 1 (25:36):
But he was a perfectionist too, so he.

Speaker 3 (25:40):
The darker side of being really clever at things is
sort of not letting others in on it in a way.
And he was a beautiful man and I loved him dearly,
but you wouldn't want to be his.

Speaker 1 (25:54):
Apprentice, you know.

Speaker 3 (25:58):
It's like he had acting standards of himself.

Speaker 1 (26:03):
And yeah, a bit of a perfectionist.

Speaker 3 (26:07):
And and and I think watching my grandparents, they had
this really good balance between them.

Speaker 1 (26:17):
They'd worked obviously worked out.

Speaker 3 (26:22):
Yeah who was the chef and who was the sioux chef,
you know, or who was going to make the decision
on this. They they really worked as a team, which
was so lovely to observe as a kid. But but yeah,
in terms of you know, my beautiful husband, he granddad,

(26:42):
who's in his eighties, still was helping George, my lovely husband,
put in like a like a roof sort of downstairs
in my studio and Granddad, you know, and George is
a very patient gentleman, but Granddad would sort of just

(27:04):
take over.

Speaker 1 (27:06):
And you know, yeah, thanks George, and let me do it.

Speaker 3 (27:12):
So, you know, I think, yeah, there's a there was
a lone wolf in Grandad very much in terms of creativity,
and I suppose I've inherited that to a certain extent.
I really and going back to could I have done drama, theater,

(27:33):
film TV perhaps.

Speaker 1 (27:34):
You know, versus being a visual artist.

Speaker 3 (27:37):
What I really love is being on my own and
not negotiating with anyone about what I'm doing. I don't
even do commissions because it just exacts too much out
of you. You know. I think there's a really lovely
clear conversation that you can have visually and it can

(27:59):
wreck you, you know, if you're trying to negotiate with
somebody about that. And you know, I've only ever done
commissions with people who have my work previously or really
understand the process and are happy to let me go.
You know, So I suppose that stubborn, you know, really

(28:22):
clear streak exists in me with Granddad. And what's great
is I don't have to negotiate that that side of
myself when I'm inhabiting the artist.

Speaker 2 (28:34):
Independent creatively. No, I just me. You know, we're still
talking about our grandparents. I'm wondering as often we bond
with one of our or more than one of our grandparents.
Was that case with you? Because you speak so fondly
of your granddad Derek. On both sides of your family,
were you particularly close to any of them?

Speaker 3 (28:55):
Yes, absolutely, Look my dad's side of the family, Nanna
and Pop, they were beautiful.

Speaker 1 (29:01):
They are quieter people.

Speaker 3 (29:03):
My dad is a quieter man, a private man, observant
and reflective. I think if and Dad was the first
to go to university at very working class, humble.

Speaker 1 (29:20):
But loving.

Speaker 3 (29:21):
Yeah. I remember as a kid like my nana showing
me how to crochet, for instance. She was a great
crochet and yeah.

Speaker 1 (29:32):
Just quieter, loving, maybe not so demonstrative verbally, so you know, uh,
you know, maybe maybe the I love yous we was
sort of less.

Speaker 3 (29:47):
I mean not from my perspective, but maybe, but you
absolutely knew you were loved and.

Speaker 1 (29:54):
Supported, and you.

Speaker 3 (29:56):
Know, I think a sa same with my grand parents
on Mom's side, I saw them very much. They were
very much around as I grew up as a teenager.
Mom and dad split when I was twelve, so there
was lots of stuff that Mum was exploring in her
life during that time, and so yeah, there was a

(30:19):
there was a bit of you know, we'd see Dad
every second weekend and stuff like that. But our grandparents
and an are and Pop and my grand and granddad,
we're just constant, you know, really beautiful loving, Yeah.

Speaker 1 (30:36):
I mean to the point I mean mom's.

Speaker 3 (30:38):
Side, grand and Granddad were possibly at times. I mean
they'd ring every week, you'd see them every week. I
know that Mum speaks about when you know, I was
first born, they'd be very practically helpful. So Mom adored

(30:58):
being a mom. She really loved, you know, just sort
of rocking in the chair, you know, in love. She
you know, really in love with being a mum. But
granted granted Grandad to clean the house and do the
nappies and do that sort of thing. So yeah, we're
really lucky my brother and I, you know, to have those.

Speaker 1 (31:23):
Beautiful souls in our lives.

Speaker 3 (31:25):
And though we didn't see Nanna and Pop, we'd see
them every year at Christmas, and I always felt a
kindness and really listened to us and really honored who
we were as becoming people.

Speaker 2 (31:47):
Well, you mentioned your mummily and a few times she
was very creative too, and interested in the amateur theater
and more many hats through her life. What kind of
relationship did you have with her as a child and
how has it evolved as an adult. How would you
describe it?

Speaker 3 (32:06):
Lots of fun? Mom? Growing up was a fun mum.

Speaker 1 (32:13):
Yeah, Mum.

Speaker 3 (32:14):
I think they got married quite young, like in their
early twenties, and I think you know, part of that
time and place what you did was. I mean, mum
very clever, very creative, but sort of left school in
year ten, got a secretarial sort of job with the

(32:39):
law courts and different things, and so Mum has always
been a rebel and a little bit of an explorer,
and so she just couldn't wait to get out of
Even though she loved my grandparents, they could be controlling,

(33:00):
you know, so you know, I think she was keen
to move on and create her own life. And and
so met and fell fell in love with my dad,
and so I think, and then quickly became you know,

(33:21):
a parent, a mother, you know, twenty two and I
think back to who I was at twenty two, and
I go, Mum, I don't know how hated this and
Dad similar age. And you know, as a kid, I
remember this place in Algester, which was out in the sticks,
you know, in the seventies. And I remember it, of

(33:42):
course because I was there until year three or whatever.
I remember it being huge and I actually drove out
there to have a look at it, and it's this one,
you know, level, a little small brick out in the verbs,
dark brick, and it was just I had so much

(34:04):
compassion and love for my parents just starting out, you know,
two kids in the Culder Sac in the seventies and.

Speaker 1 (34:14):
It's just you know, making the leap of faith.

Speaker 3 (34:18):
I mean, George and I had to talk about the
possibility of getting a dog for two years, maybe five,
and so I can't believe the courage or just the
blind positivity that everything's going to work out, it'll be fine.
And so I think, my Mum, yeah, very creative person.

Speaker 1 (34:44):
But you know, two kids young.

Speaker 3 (34:48):
Really, you know, when I got to twelve, really exploring
who am I? I don't even actually know who I
am outside of these roles I suppose, And so yeah,
I think she went on a bit of a journey
and uh, yeah with who am I? What do I

(35:13):
want to do? What am I good at? I mean,
Mum has been so many different professions in her life.
You know, she's a taxi driver, you.

Speaker 1 (35:24):
Know, she worked in schools.

Speaker 3 (35:27):
She very involved in amateur theater when when she was
younger as well, and I'd go to the place and
love it, you know, seeing her perform. She direct a lot,
and she was a great director, really engaging and encouraging
for me as a little artist, very encouraging, very Oh

(35:53):
that's amazing, you know. Wow.

Speaker 1 (35:58):
So really I had this benefit of.

Speaker 3 (36:04):
Mum really supportive, and luckily my parents are really I mean,
my dad's an accountant, so different sort of animal. But
I think in a different life he would have been
maybe an author or you know, something like that. But
I think, you know, growing up working classes sort of,

(36:27):
so many choices you have. And yeah, I mean financially
both sides, you know, not particularly flush and so yeah,
I think there's.

Speaker 1 (36:45):
Been a lot of growing.

Speaker 3 (36:46):
I really admire my mum, for Look, there was an
instable period, you know, as I grew up as a teenager,
but she's really done a lot of work on herself
and reflected on who she is. And I've come to
a point in my life where I'm I admire her

(37:11):
a lot and my dad. I have a lot of
love for them. I think, you know, my forties I sort.

Speaker 1 (37:18):
Of needed to explore, you know, all of that stuff.

Speaker 3 (37:24):
Dealing with you know, childhood and perhaps some things that
weren't so great. But now as I am on the
edge of becoming fifty, I really appreciate their journey and
forgiving me life and forgiving me this beautiful life, you know,
so I stand on their shoulders.

Speaker 2 (37:47):
Now, who was it that encouraged you with crayons and
the early start of your artistic life?

Speaker 3 (37:55):
Was it in.

Speaker 2 (37:55):
School or was it your parents encouraging you at home?

Speaker 3 (37:59):
Well, funny, I was saying this to my husband last night.
I've got this the earliest memory of getting a packet
of sultanas, you know, those little sunbeam sultanas and pushing
them onto the wall and being fascinated by this sort
of independent little sultana and then you apply enough pressure

(38:23):
and it's sticks to the wall and then creating a pattern.
So there's this earliest memory of that.

Speaker 1 (38:36):
And I'm sure.

Speaker 3 (38:37):
I mean, obviously there wasn't anything traumatic happening after I
did create this masterpiece of sultanas on the wall, otherwise
I would have had a trauma.

Speaker 1 (38:46):
So obviously Mum was okay with stuff like that.

Speaker 3 (38:50):
I think Sean and I luckily we weren't really packed
with our schedules growing up as kids, so we we.

Speaker 1 (39:01):
Had a lot of free time.

Speaker 3 (39:03):
And so we moved from our jester and we went
to acreage, so five five acres of land, and yeah,
it was a bit out in the Sticks in the eighties,
so in that sense, we had a horse next door,
and we.

Speaker 1 (39:22):
Were really given a lot of latitude.

Speaker 3 (39:25):
We didn't have piano lessons, and then we had to
go to swimming and then it was like, okay, go on,
go off and entertain yourselves, you know. So I remember
pretending to be a teacher for instance.

Speaker 2 (39:39):
That's where you got it from.

Speaker 1 (39:40):
That's exactly right.

Speaker 3 (39:41):
There was always one kid, Johnny in my imaginary class.
It was really naughty, but yeah.

Speaker 1 (39:50):
Lots of play. You know, my brother I would.

Speaker 3 (39:53):
Be on our BMX bikes and sort of pretend to
be Sean would go round the house, and then I
pretend to be the petrol station attendant, you know, things
like that. They'll go filler up, mate, filler up. So
lots of play and lots of time in terms of art,

(40:17):
like I think for me, it was a lot of
material play. Like I remember mixing consistency of wet and
dry sand in our backyard and noticing that when you
mix those consistencies you get this fluffiness things like this
that I think is very the artist in all of us,

(40:40):
you know, having these experiences of going, huh, isn't that interesting?
So when you mix that with that, you get that
and so that curiosity. And then I suppose when I
went to primary school, I had lovely, beautiful creative teachers
that just.

Speaker 1 (41:01):
I adored my teachers that.

Speaker 3 (41:04):
Were very much musicians or artists or drama tagus in
their own lives, and they encouraged us as kids, especially
primary school, but then again high school as well, you know, and.

Speaker 1 (41:21):
Really encouraged us to play, which I think is the
basis of all creativity.

Speaker 2 (41:26):
Did you get a chance to visit galleries and museums
with your parents.

Speaker 3 (41:31):
Yeah, well, I think not in a Brisbane context, but
when we were younger, born into the Catholic Church, what
was really interesting for me was that was my first
foray with art. So I'd stare at this really amazing statue,

(41:53):
large statue of you know, the Mother Mary with her veil,
a blue veil and robes, and then she'd have this
serene expression on her face and then she's got a
barefoot and she's stamping on a snake that looks quite
aggressive and mid you know. So things like that that

(42:18):
fascinated me as a kid. All of the iconography when
I was at primary school there was we were lucky enough.
He's now a practicing artist. He was associated with the
church and his name is Russell, I think Russell, and
he he created these paintings that he'd put behind the altar,

(42:41):
you know, of jays Zeus on the on the cross,
and he'd do quite a realistic So it was quite
heart pounding for a kid to see this sort of imagery.
And so yeah, that absolutely my house is filled with iconography.
Although I'm not I wouldn't classify myself as a Roman Catholic.

Speaker 1 (43:04):
Now I'm more a New Age spiritualist. But I've got
I love iconography.

Speaker 3 (43:11):
There's something really interesting and iconography from many cultures.

Speaker 1 (43:17):
I really dig it.

Speaker 3 (43:20):
My husband's a pure atheist, and bless his cotton socks.
We've got the last Supper above our bed because it's
this beautiful vintage It's this beautiful vintage image with you know,
it's on mirror, and I just fell in love with it.

Speaker 1 (43:35):
I had to have it. But poor George, he's sort of.

Speaker 3 (43:40):
I don't know about this, okay, of all.

Speaker 2 (43:44):
The paintings that it could have been in your bedroom.

Speaker 1 (43:48):
Well, I'm a maximalist.

Speaker 3 (43:50):
If you couldn't tell from my work, So I've got
it's like a salon.

Speaker 1 (43:54):
Hang, there's nothing.

Speaker 3 (43:58):
I will squash as many pictures as i can on
the one wall.

Speaker 1 (44:03):
And further so.

Speaker 2 (44:05):
I'm bound to make reference to Freda Carlo. Yes, I
know that you're a big fan of hers. I've just
finished her biography, which was riveting. I highly recommend it
if you're interested in Freeda Carlo's work, and of course
so colorful. You know you mentioned there that you're now
more of a New Age spiritualist and all of these
things sort of come together and they to make us

(44:27):
who we are. And and I kinographic imagery that you
do so well. And I'm wondering how spiritual you feel
that you are now as opposed to when you used
to be as a young artist, budding artist. Has that
spiritualism grown in you?

Speaker 3 (44:47):
Oh that's an excellent question, because look, as a young person,
you make things. And you know, I always felt this confidence.
I don't know why, maybe built up in life, but
I never felt scared about making And I see as

(45:09):
a teacher, kids scared about even doing a line, drawing
a line. And for some reason, and I think it
was that encouragement of all these lovely souls around me.
But I never felt scared of having a go visually,

(45:31):
and I felt good at I don't know why, but
I felt like, oh yeah, yeah, yeah, I can do that.
I can knock that up. And so in terms. Then
then I went from you know, all girls Catholic school to.

Speaker 1 (45:52):
Art college.

Speaker 3 (45:53):
Hey man, whoo. You know, so nobody was checking up
on me. Yeah, I was experimenting, you know, I was
cutting up sex dolls, putting them in baking trays and
pouring resin on them.

Speaker 1 (46:07):
I was putting bicycles in kilns.

Speaker 3 (46:09):
You know, I think that material play that I loved
as a kid.

Speaker 1 (46:13):
I really went crazy at art college.

Speaker 3 (46:16):
But I had no real sense of why I was
drawn to create or why I wanted to create.

Speaker 1 (46:23):
I just followed.

Speaker 3 (46:25):
I didn't even think about, well, what are you going.

Speaker 1 (46:27):
To do after this degree?

Speaker 3 (46:30):
Like you know, you'd see mature age students and they'd
be very clued on.

Speaker 1 (46:34):
You know, they've saved money, they've.

Speaker 3 (46:37):
Worked, they're going to use this three year degree to
really push things in their direction.

Speaker 1 (46:45):
I was a bit I was just bumbling along.

Speaker 3 (46:49):
And they told us when we first went to art college, Look,
you're probably too young for the degree. If you're here
straight from school, you really need a bit of life experience.
And I agree, because it can rip you to shreds
when you're a burgeoning artist and you get critiqued harshly.
I mean I had many experiences, you know that ended

(47:10):
in tears because I really didn't know what they wanted
from me. A because you're appliable at that age. You want,
you want to please. But the other thing is I
really didn't know why I had this language or wanted
to explore it, and so I really had to disconnect

(47:31):
with it for many years. You know, I thought, right,
let's get sensible about life and no need overseas I
that's my husband, I'll turn him off. And then I, yeah,
decided right, I've got to get sensible, did an education degree,

(47:53):
went out and taught full time for five years, and
then got married and then read this book. And if
you haven't read this book, here's the big plug. It's
called The Artist's Way by Julia Cameron and she's a
New York based writer who.

Speaker 1 (48:14):
Really wanted to write a book about.

Speaker 3 (48:17):
Unblocking artists because she really believes that everybody's an artist
and that we're all creative and it's accessible to everyone.
And reading this book was just she gets you to
do exercises, etc. But it was a real revelation to

(48:38):
me after sort of really not practicing myself, thinking oh,
I need to get back to that. I need to
get back to that. And when I did, that's when
the spiritual connection happened. And that's when I said, this
is how it makes me feel ill. This is me

(49:01):
having a conversation with me. This is a meditation in action.
When you paint, there's no other thought, there's an excitement.
I find a little internal excitement doesn't need to be

(49:23):
shared with anyone about tomorrow, about the future, about Oh
I've got this to finish.

Speaker 1 (49:32):
It's a purpose.

Speaker 3 (49:34):
And I found that spiritual connection that she talks about.
Really it resonated with me very strongly, and I thought, Ah,
this is why I do it. And I think that
energy or that vibration translates into the paint. I think

(49:58):
people in your energy tribe connect with your work and
feel what you're feeling. And I've seen it, you know,
early in my career, when I was sitting in gallery
in the gallery with my own work, and people would
walk in and there'd be some people who'd walk in

(50:19):
check it out very briefly and walk out absolutely unmoved.
And then you'd have somebody who comes in and stares
at a piece and cries. So I think there is
this vibrational connection. I think it's always going to be relevant,
you know, with the introduction of AI etc. I think,

(50:39):
you know, I'm going to go overseas this year and
I'm going to go to the vangu Museum and I
mean I might cry.

Speaker 1 (50:48):
You know.

Speaker 3 (50:48):
It's that connection with the physical piece. I could see
a print all day long of his work, but to
see it in the flesh, I think is a conversation.

Speaker 2 (50:58):
So when you go into the studio, is there a
transition to get into that space where it is meditative, soulful?
It is just you and that canvas, and it's a
transition then into your own universe if you will, with

(51:19):
your art? Is silence better or can you somehow put
music or podcasts or whatever it may be in the background,
and it is very much background. How does that headspace
of yours change? I'm very curious as to what that
transition is for you and is it an undisturbed space?

(51:42):
Do you put do not disturb on the door when
you go in there?

Speaker 3 (51:48):
Well, when we did the house, when I we yeah,
three years ago, we renovated the house, so we lived
in the studio downstairs. So we were all cracked, and boy,
I I adore my hobby and I adorn my dog,
but I kick them out so quickly, I said, get

(52:08):
out of here. I need to you know. But yeah, interesting,
And I have forgotten to give you my platelist.

Speaker 1 (52:17):
I'm so sorry.

Speaker 3 (52:18):
But originally, look, I have lots of fun I've got
daggy musical playlists I've got lots of joyful you know,
the cat Empire and you know like joyful music as well,
and really that's been going on. But lately I've been

(52:40):
getting into the podcast. What I find is I need
a bit of rev up music to start a painting,
so really to rough it in. That's sort of the
energy that I need to bring to a new canvas.
In terms of the hard yards. Like, I'm a bit
of a headenist, so I love. I went and did

(53:01):
a painting course down in Sydney at the National Arts School,
and the tutor it was just for a week, paint
like a Dutch master. I thought I'd go crazy, but
she was brilliant anyway, she could tell that, you know.
Second day in she said, ah, that's great, Sarah, but
you want to eat all the dessert before you actually

(53:23):
eat the main cause, And so I said, yes I do.
And so I you know, the hard yards. You know,
if I if I have a face, if I'm doing portraiture,
and I know that I need to get a likeness
for instance, I need to strap myself in and there

(53:43):
is a different mentality there because if you know, so
a podcast or something where you can zone in and
just go, you know what, We're going to be here
all day and we're just going to work on this
eye and this cheek. You know. Is it drives me
mental because there's an internal battle happening that.

Speaker 1 (54:05):
Really wants to with a big thick brush go nuts,
you know.

Speaker 3 (54:10):
And so I usually start that way. I love starting paintings.
Finishing them, yeah not so much, but yeah, So there's
there's I suppose, like a journey in that painting process.

Speaker 1 (54:26):
So the first the first.

Speaker 3 (54:28):
Layer, chucking that paint down in textures, you know, strokes fabulous,
you know, yeah, bring on the party music. But then yes,
strapping in to resolve a piece and letting it sit,
having the patients to let a painting sit and stare

(54:48):
at you for I mean, it can take six months.
I did a portrait of my brother, which, if you
added up all of the hours that I actually spent
on the canvas, not not a great deal.

Speaker 1 (55:00):
But in terms of he was in my studio for
a year and I kept side.

Speaker 3 (55:05):
Eyeing him, waiting for the wave, waiting for the next
clear move of what to do next. And I suppose
that's there's pain.

Speaker 1 (55:16):
As you say, you got to get down a studio
eight a m.

Speaker 3 (55:19):
Every morning, and you've got to work hard. And I'm
definitely not one of those. I like to catch the wave.
I like to feel intuitively drawn and also be really
really good to myself when I just don't feel like it.
You know, I think, you know, I feel the call

(55:41):
to you need to go and fill your eyes with something.
Today I even did it. I took myself to the
movies last week. I saw The Salt Path. Oh, yes,
and yes, and I just felt like seeing those visitas,
like I really wanted to see the Cornwall Devon.

Speaker 2 (56:02):
You wanted to go back to England?

Speaker 3 (56:03):
Yes, yes, And so I really wanted my eyes to
sort of be taken somewhere else. And I suppose that's
why I love film and TV, and because you can
drink in another space without sort of buying the air ticket.

Speaker 1 (56:21):
Yeah.

Speaker 2 (56:22):
I'm wondering what people say about your artwork, Sarah, that
you know if you're eavesdropping. You mentioned you know the
different reactions physical reactions to people coming into a gallery
into your show. But wonder what feedback you get or
what you hear if you're eaves dropping about your work.

Speaker 1 (56:43):
Ah, that's so interesting.

Speaker 3 (56:47):
Well, it's a difficult one, because I think it's a visceral.

Speaker 1 (56:55):
Feeling. People are either going to get it or they don't.

Speaker 3 (56:59):
And when they get it, it's so wonderful to hear
the connection that they made and how it made them feel.
That to me as an artist, is full circle. And
I think the art life can be up and down.
You sometimes question what the hell am I doing? I
don't understand, and then you get somebody, well, even listening

(57:23):
to Natasha on the podcast the other day, say hey,
actually my artwork somehow reached out in the ether and
grabbed Natasha enough to write to me and connect. And
this such magic in that, and it makes me feel

(57:43):
in those low moments that you naturally have in a
creative life, it makes me feel like, ah, that's why,
that's why you keep going, that's why you do it.

Speaker 1 (57:58):
And I think it's magical burst me on.

Speaker 3 (58:01):
You know, when somebody hands over their hard earned cash
to have you know, your vibration, your work in their
house and they find different things with it, it's really
magical and it's the buzz. Even though you know there's

(58:22):
a there's a side to being an artist, but you
want to be taken seriously.

Speaker 1 (58:25):
You want to win awards.

Speaker 3 (58:27):
You want to be seen as a serious contemporary artist,
and there's all of those icky attachments associated with that.
You want to do well in the field. You want
admiration and respect from your peers. But actually, at the
end of the day, that connection with other people is

(58:49):
it's huge, it's everything. It's and I don't paint for others.
I paint for myself. And then when I do that
and there's this magical life or connection that happens outside
of me once it's finished. Is Oh, I love it. It's chills,

(59:10):
you know, it's the best.

Speaker 2 (59:12):
Yes, you've said what I was thinking just then, Sarah,
that this is about you. This is why you don't
need commissions, because this is coming from so deep inside.
It is about you know, you expressing yourself. So when
you go in the studio, is that work or play? Huh?

Speaker 3 (59:33):
Probably that I'm going to spend all day on this
eye and cheek is possibly on the edge of work.

Speaker 1 (59:40):
But my god, what good work is it.

Speaker 3 (59:43):
I'm in my studio and I can, you know, decide
to work when I work. I've got a cup of coffee,
I've got my dog near me, I've got an exceeding
freedom with what I do financially up and down. I
hate at universe. Bring us some more of that cold,

(01:00:04):
hard cash by all means. But at the same time,
there's this It is play. It's absolute play. If I know,
when I get too serious about things, and I do
get too serious about things, I do. You know, I
do want many things. I've got many dreams for my art,

(01:00:28):
and so sometimes that can get overwhelming. And I know
other artists feel it too, And you get disappointments too,
you know. Just yesterday, I got rejected from a comp
that I got into last year. And you go bum
and bugger, you know, I really, and you feel a
bit down and you take the disappointment like an arrow

(01:00:51):
and you go. But you get you get tougher, you know,
as you the more years that are under my belt
as an artist, you know, and I think there's this
constant breaking down and building up, you know. So there's
the disappointment that what am I doing anyway? And then

(01:01:11):
there's a hay on, do what? And then you paint
your frustration. You grow bigger. I think sometimes these beautiful
female forms, these souls that come.

Speaker 1 (01:01:26):
Through are my cracking bigger emblems.

Speaker 3 (01:01:32):
They say, keep going we're growing, you know, we're growing
stronger and larger. And that's why I like to paint
physically large. It's it's a dream, it's a reach. You
reach for it, you know. And yeah, but at the
end of the day, it's got to be play. It's
got to you got to go. It's the artist isn't

(01:01:53):
inner child. It's it's a child that usually gets ignored
and you need to coax it out with beauty.

Speaker 1 (01:02:01):
And play and fun.

Speaker 3 (01:02:06):
And you know, lots of artists use different ways of
doing that. You know, Collage I find is absolutely sensational
with getting something quickly, composition quickly on paper and letting
your little artists out. You don't have to draw properly

(01:02:26):
or do anything proper. It's a play and I think, yeah,
it's really important that we all get in touch with
that actually, because I think it makes us healthy.

Speaker 2 (01:02:38):
And you spend some of your time in the studio
and sometime as an art teacher. You've been a teacher
that for twenty three years to something that is very
much a part of you. Clearly started when you were
very young as a teacher. You picked up the vibes
back then, it seems so it is life make a
nice balance for you now to be as creative as

(01:03:00):
you need to be with your studio space and as
an artist, a professional artist, and then sharing that with
the next generation.

Speaker 3 (01:03:10):
I really love it. I love it so much. Working
with teenagers is the best they're sort of looking for.
They're growing up, they're starting to sort of stretch their wings.
They're starting to sort of question who they are and

(01:03:30):
they are they're trying to find their way as a
little individual, and I love being there for that. I
love seeing that, and you especially see it in the
arts and in the visual art classroom, and I love
you know. Of course they're starting to rebel, they're starting

(01:03:51):
to find their little way in life. I really love it.

Speaker 1 (01:03:56):
And you've got different stages, of course.

Speaker 3 (01:03:58):
I teach your eights, who are at the beginning really
of their high school, and then I teach year twelve,
who are just about to go out and fly. And
it's so lovely to see the differences in that relationship.
It's such a beautiful balance. I get inspired. There's usually

(01:04:19):
a conversation between what's happening at school and what's what
I'm doing in my practice as well, And even when
I have a challenging a lesson. I'm thinking about yesterday
and my beautiful year eight class. You know, there's an
intensity in me, you know, for them to succeed as well,

(01:04:43):
and for them to know how beautiful their marks.

Speaker 1 (01:04:46):
Are as well.

Speaker 3 (01:04:48):
You know. I think in a primary school context sometimes sadly,
if kids can't draw realistically, they internalize that and go, oh,
I'm not good at art. And and then when they
come to high school, I say that is sensational because
a kid will knock out a Picasso esque, you know,

(01:05:10):
just free from any restraint or what's proper in inverted commas,
and it's an uninhibited drawing. It's an uninhibited line and
it's delicious, and you know, I go nuts about it
and they go settle down. Miss.

Speaker 1 (01:05:29):
It's like it's a thing.

Speaker 3 (01:05:32):
But I love I love seeing their growth and their development. Look,
there's really I really believe we're all artists. And you
say to a two well, you say to a three
year old, can you draw Santa on top of a

(01:05:52):
fire truck with a horse in the background. The three
year old would look at you and go yeah, yeah,
no worry, and then get a piece of paper and
do it, you know, And that connection to visualizing something
and just drawing something. It might not look realistically like
Santa Claus on top of a fire truck with a

(01:06:13):
horse in.

Speaker 1 (01:06:13):
The background, but happily and proudly they'll show you and
go there you go, that's what you wanted.

Speaker 3 (01:06:20):
And whereas you'll ask, you know, maybe an adult businessman
in his fifties, can you draw a version of this.

Speaker 1 (01:06:31):
I don't draw.

Speaker 3 (01:06:33):
I'm not an artist, and I think it goes back
to caveman times. You know, you draw things in the sand,
you make a mark. You know, it's your mark, and
it's important that. Yeah, I mean, there's such a thing
as skill development and all of that sort of gear,

(01:06:54):
but ultimately it's your beautiful connection to something external. So
you've bought the internal external. You've made the internal external
just by drawing a line.

Speaker 1 (01:07:09):
It's beautiful. I love it.

Speaker 2 (01:07:12):
That is a beautiful description. I love that. Thank you
for summing it up that way, teacher. I could all
recognize that the inhibition of art beautiful. Sarah, thank you
so much. This has been great fun getting to know you,
and I think what you've shared with us really put

(01:07:37):
completes the picture for us of the person that you
are you know and how it comes across in your art,
and this is only your first career. I think you
know you can go to costumes us and you can
go back into acting, so we can expect absolutely everything,
anything and everything from Sarah Hickin Long made the creativity continue.

Speaker 1 (01:07:58):
Thank you so much, Chris.

Speaker 3 (01:08:00):
It's like, you know, a little bit on edge and
nervous coming in, but You've just put me completely at
ease and I've really enjoyed the process, and thank you.

Speaker 2 (01:08:10):
We look forward to continuing our conversation. Don't forget to
join us over on YouTube now because Sarah and I
are going to hop over there and talk about some
things we didn't have time for here on the podcast,
So don't forget to check out our YouTube channel, the
art podcast, The Art with two A's, of course, and
that's where Sarah and I are heading now. So again,
thank you very much Sarah for being on the podcast

(01:08:31):
this week.

Speaker 1 (01:08:32):
Thank you.

Speaker 2 (01:08:34):
Remember to scroll down the show notes where you'll find
links to Sarah's website and her social media, and also
to our social media. You can find us on Instagram
at the Art podcast That's Art with two A's. You
can also reach us via email. If you have any comments, questions,
or suggestions, that address is The Art Podcast at gmail

(01:08:55):
dot com. And if you're listening on Apple Podcasts, please
do us a five star rating and review because that
raises our rankings amongst all the other thousands and thousands
of podcasts, therefore helps others find the show. And you
can also leave a review on Spotify. And don't forget
to hop over to our YouTube channel, The Art Podcast again,

(01:09:18):
that's Art with two a's. You'll find us over there
with lots of videos and particularly this new after show,
where you'll find our continued conversation with our guests and
you'll hear stories that you didn't hear on the podcast.
And don't forget to subscribe to our YouTube channel while
you're there. Thanks again to my guest this week, Sarah Hickey,

(01:09:39):
and to you for listening. I'll be back in two
weeks time when we'll get to know another creative woman
from around the world of visual arts.