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bigon BOTANICALS

whatÕsina NOODLE?

SARAH KELLY’S GLORIOUSLY DETAILED, LARGELY WATERCOLOUR BOTANICALS ON OVERSIZED CANVASES ARE PAINTED IN HER HOME STUDIO AT HER CHOSEN FOREST-MEETS-SEA ESTATE AT SHEFFIELD BEACH ON THE NORTH COAST.

INSPIRATION FOR HER ARTWORK IS EVERYWHERE AROUND HER – AND THEN THERE’S HER HAPPY PLACE, THE BEACH, WRITES ANNE SCHAUFFER bit, and gradually moved on to bigger and bigger pieces. Simultaneously, she started her social media campaign, created her first website, and began working alongside interior designers. She was soon working on numerous local and international projects with her mom and other influential interior designers such as Sue Bond, Lisa Walters, Michele Throssell, Mario Rodriguez, as well as Tamasa Gallery.

Sarah’s commissioned project at Amber Glades residential estate in Howick is particularly memorable: “Thirty-two canvases each measuring 4m high by

3m wide. I had the canvases made in Kloof, and a truck collected them one by one to bring to the farm.” She worked in a massive farm shed of her dad’s, because it was the only space in which the artworks would fit. She produced one every two weeks, allowed it to dry, wrapped it up, and trucked it there. It took three men to hang each artwork: “They were destined for the estate’s six hallways. I painted the background in the same colour as the walls, so the botanicals felt like they were floating. Eight or so months in, I completed the project in time for the launch.” It’s » a powerful, beautiful display of botanical art, complete with a catalogue of the plants and their stories.

Having studied graphic design, worked with decorators, and spent time as an intern at the fabric house, Hertex, Sarah had always loved the idea of fabric design. She’d almost studied it, she says, and had produced a portfolio. Hertex saw her fabric designs, and asked her to collaborate with two other artists on a range called African Illustrators Collection. It was a great success, and Sarah’s graphic design skills were put to full use. Covid struck, and that started her on another artistic journey –her original ink artwork printed on exquisite silk scarves, hems rolled and hand stitched. They’re beautifully presented in stylish boxes with ribbons – everyone’s dream gift!

Today, Sarah generally works predominantly on a large scale: “You can be so expressive. My watercolour technique is different, I layer my colours, so my style is quite painterly – it looks like gauche.” Generally botanical painting has a clinical accuracy, to which Sarah laughs: “I don’t measure leaves. I don’t do it scientifically.” Which is possibly why her work has something truly special, different about it – a certain energy. Whatever it is, she has a devoted clientele – and one that is growing. Her first solo exhibition last year was a series of contemporary Euphorbia, so very well received.

Living at Elaleni is in so many ways, the polar opposite of farm life. There’s the glorious tropical vegetation which provides so much inspiration for Sarah’s work, but also the beach: “I’m more of a beach person. I adore farm life, but I’ll choose this over that for relaxation. I’m an active person, can’t keep still, have to be busy, and the sea offers so many opportunities for that.” Sarah runs, every day, and walking on the beach is her escape: “It’s to clear my head space. I’m a big thinker, and I overanalyse everything,” she grins. Not everything – her work is just perfect.*

FOR MORE INFO www.sarahkellyart.com; W @sarahkellyart

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