Born in Hadley, NY, Sarah Meyers Brent received her BFA from Skidmore College, her Post- Baccalaureate in Studio Art from Brandeis University, and her MFA in painting from the University of New Hampshire. The artist maintains a studio at Waltham Mills Artist Association in Waltham, MA.
Recipient of a 2015 Walter Feldman Fellowship, which culminated in the exhibition Primal Garden at the Walter Feldman Gallery in Boston, Brent was also featured as a 2016 Best of Boston artist by The Improper Bostonian and received the Fay Chandler Emerging Artist Award that same year. Twice resident at the Vermont Studio Center, Brent has also been a recipient of an Artist Resource Trust Grant from the Berkshire Taconic Community Foundation, who designated her a 25 at 25 Fellow. She was also featured in Volume 16 of New American Painting Northeast edition.
Represented by Coastal Contemporary Gallery in Newport, RI and Chase Young Gallery in the SOWA district of South Boston, Brent has exhibited widely. Her solo exhibition Seep, Spill, Grow appeared at Danforth Art Museum along with her recent exhibit Beautiful Mess at Kelley Stelling Contemporary. Reviews of her numerous exhibitions have appeared in Artscope Magazine, Art New England, the Boston Globe, Sculpture Magazine and other publications. Her work is in the permanent collections of Danforth Art, Museum/School, Liquitex Corporation, and in numerous private collections.
Into The Fold, Threads of Curious Realities
Featuring On-Kyeong Seong and Sarah Meyers Brent
On Exhibit April 4- 28, 2019
Artist Reception: Saturday, April 13th from 2:00 - 6:00 PM
‘Into The Fold’ features two New England artists working in mixed media to construct a hearty collection of installation, sculpture, painting and stitchery that will fill our gallery as spring bursts forth in April of 2019. Both Seong and Brent push the boundaries of beauty and ugliness through the inimitable guidance of their materials. Bundles of textiles, foam and ‘trash’ in Brent’s work, behave as if they were thick paint, where threading in Seong’s, left loose or tightly sewn, draws delicate lines and connections. We are boldly wrapped in worlds that speak about woman’s work, motherhood, nature, technology and curious relationships that manifest in our conscious and unconscious minds.
There is a messy, yet beautiful, organic chaos of form that melds effortlessly into an orderly management of geometric shape. Colors are bright, clean and clear in moments of rest or muddled and earthy where they collide.
Seong’s quilt-like worlds occasionally shift between two and three dimensionalities; deftly crawling along walls, agreeably transformative upon installation in order to bend and curve around sharp angles. Visitors are enticed to a walk through Brent's site-specific “garden archway” of old clothing, studio debris, paint, and recycled materials. This piece fluently mimics the “growths" pouring out of her wall works and sculpture.
There is much meat to sink our toothy souls into as these two masterful creators provide abundant opportunities for digging in and climbing back out.
Sarah Meyers Brent
On Kyeong Seong grew up in Seoul, South Korea. As a qualified educator she taught children for many years after earning a degree in childhood education in Seoul. In pursuit of a new career as an artist, inspired by her father, she studied arts in the United States earning her MFA from the Museum of Fine Arts at Tufts University and a BFA from Lesley University. She creates in her Beverly, Massachusetts studio and actively participates in solo and group exhibits throughout the east coast and South Korea. Currently, she is a gallery member at Kingston Gallery in Boston, MA and the Cambridge Art Association in Cambridge, MA and is represented by Coastal Contemporary Gallery in Newport, RI.
Seong’s mixed media imagery is inspired by nature, biology, microscopic forms and the human body. She transforms this imagery into lushly produced surfaces from paint, paper, collage and machine sewn works. The artist shows us juxtapositions between imperfections, perfection, and distorted realities to reveal a ‘visible surface’ of the uncanny, the disparate, the unusual, and the monstrous.