SARAH KNIVETON 

My practice spans printmaking, photography, and extends into video and 3D forms. Central to my work is an experimental and research-based approach, where I explore the intersection of memory, time, and materiality.

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Currently, I am investigating memory as a dynamic process—how it evolves, shifts, and interacts with mediums like photography, print, and the archive. I work primarily with found photographic negatives, scanning and printing them repeatedly, allowing the images to degrade and transform through processes of layering, mirroring, and overprinting. This physical manipulation mimics the fluid and unreliable nature of memory itself.

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I am curious about how our relationship to memories changes over time. How does memory shift, fade, or become distorted? How does our ability to remember affect both our individual and collective identities? The act of recording and storing memory has long been a privileged practice—what impact does this have on the ways we understand ourselves and each other?

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Photography and video, as media inherently tied to temporality, provide a natural framework for exploring these questions. The manipulation of images serves as a metaphor for the mutable and sometimes fragmented nature of memory.

 

Printmaking adds a layer of materiality—creating physical layers of image, representing the passage of time. I am also considering how 3D forms could embody the structure of memory itself, offering a tangible space for reflecting on how memory is stored, altered, and experienced.