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Sara J. Winston is an artist based in the Hudson Valley region of New York. She uses photographs, text, and the book form to describe and respond to chronic illness and its impact on the body, mind, family, and memory. Sara is the author of 'A Lick and a Promise,' published in 2017 by Candor Arts (Chicago, IL) and 'Homesick,' published in 2015 by Zatara Press (Richmond, VA). She has contributed work to several publications including 'Return to the Field,' published in 2021 by Wendy’s Subway (Brooklyn, NY) and 'Other Eden,' published by Papersafe Magazine in 2017 (Boston, MA). Sara currently works as the Photography Program Coordinator at Bard College, is on the faculty of the Penumbra Foundation Long Term Photobook Program, and serves as a mentor in the Image Threads Mentorship Program. She has projects forthcoming with Molto Molto (Brighton, UK) and Skylark Editions (Chicago, IL).
Published on May 19th, 2022. Artist responses collected in months previous.
What are you currently excited about in your art practice?
In the wake of the many challenges of 2020/2021 it has been difficult to find time for myself to work in the studio everyday. I am relieved that I am now beginning to get back into the groove of daily practice. Despite the interruptions to my daily work habit, in the past year I have managed to organize my archive in a way that is more clear, more intentional and more searchable than it has ever been. I am so excited about that!
What were some of the challenges you faced last year as an artist? Was your work/ art practice affected by the pandemic this year, if so how?
One challenge last year presented was learning to rebalance life/art after becoming a mother. At the time of this writing my child is nearly two and a half. Making time for myself and my practice last year was tough with the responsibilities of motherhood. The pandemic gave me a little bit more time than I would have otherwise had. I had the opportunity to be close to my child and partner, and during that time I was able to use my creative tools to really look at our new identity as a family. That was part of my work, and it helped me to move through that time.
What does a typical day in the studio (or wherever you're making work) look like for you these days? What time of day are you at your studio, what are your studio must haves (ex: music, coffee, tools, etc), and what does your creative space look like?
Typically I work in my studio in the morning before I go to work, sometimes as early as 4:45am, and again in the evening when my daughter is asleep, often between 8:45-10pm. In the morning I sleeve negatives while drinking coffee, make a to-do list, and occasionally create an outline for an email that needs to go out sometime later in the day. In the evening I edit files and make prints; throw work prints around on the floor and on the wall in an effort to establish image sequences; occasionally, I'll work on some writing until finishing the night with some television and a big glass of water. My photographing has been regimented: I always carry a 35mm point and shoot camera with me and, like clockwork, I make pictures at my monthly infusion appointments and my daughter’s pediatric physicals.
What resources for artists have you found helpful that may be helpful for other artists?
Friends and colleagues have been a critical resource for survival this year. They always are! In 2020 I did something unexpected: I met with a critique group every two weeks online until June 2021. These community meetings were essential to my survival during the height and subsequent peaks of the pandemic. A strong community is the best resource I have ever had as an artist. Otherwise, Rachel Meade Smith's 'Words of Mouth' listserv has been an excellent resource. Smith describes it as a tool "helping interdisciplinary job seekers find opportunities and resources."
What in your art career are you looking forward to in the upcoming year? Do you have any specific goals or projects in mind?
I have two forthcoming projects that I am very excited about: a print edition with Molto Molto (Brighton, UK) and a book with Skylark Editions (Chicago, IL). I’m also very honored to be teaching in 2022 as part of the faculty of the Penumbra Foundation Long Term Photobook Program.
What are you currently excited about in your art practice?
In the wake of the many challenges of 2020/2021 it has been difficult to find time for myself to work in the studio everyday. I am relieved that I am now beginning to get back into the groove of daily practice. Despite the interruptions to my daily work habit, in the past year I have managed to organize my archive in a way that is more clear, more intentional and more searchable than it has ever been. I am so excited about that!
What were some of the challenges you faced last year as an artist? Was your work/ art practice affected by the pandemic this year, if so how?
One challenge last year presented was learning to rebalance life/art after becoming a mother. At the time of this writing my child is nearly two and a half. Making time for myself and my practice last year was tough with the responsibilities of motherhood. The pandemic gave me a little bit more time than I would have otherwise had. I had the opportunity to be close to my child and partner, and during that time I was able to use my creative tools to really look at our new identity as a family. That was part of my work, and it helped me to move through that time.
What does a typical day in the studio (or wherever you're making work) look like for you these days? What time of day are you at your studio, what are your studio must haves (ex: music, coffee, tools, etc), and what does your creative space look like?
Typically I work in my studio in the morning before I go to work, sometimes as early as 4:45am, and again in the evening when my daughter is asleep, often between 8:45-10pm. In the morning I sleeve negatives while drinking coffee, make a to-do list, and occasionally create an outline for an email that needs to go out sometime later in the day. In the evening I edit files and make prints; throw work prints around on the floor and on the wall in an effort to establish image sequences; occasionally, I'll work on some writing until finishing the night with some television and a big glass of water. My photographing has been regimented: I always carry a 35mm point and shoot camera with me and, like clockwork, I make pictures at my monthly infusion appointments and my daughter’s pediatric physicals.
What resources for artists have you found helpful that may be helpful for other artists?
Friends and colleagues have been a critical resource for survival this year. They always are! In 2020 I did something unexpected: I met with a critique group every two weeks online until June 2021. These community meetings were essential to my survival during the height and subsequent peaks of the pandemic. A strong community is the best resource I have ever had as an artist. Otherwise, Rachel Meade Smith's 'Words of Mouth' listserv has been an excellent resource. Smith describes it as a tool "helping interdisciplinary job seekers find opportunities and resources."
What in your art career are you looking forward to in the upcoming year? Do you have any specific goals or projects in mind?
I have two forthcoming projects that I am very excited about: a print edition with Molto Molto (Brighton, UK) and a book with Skylark Editions (Chicago, IL). I’m also very honored to be teaching in 2022 as part of the faculty of the Penumbra Foundation Long Term Photobook Program.
Find Sara J. Winston on Instagram
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