CHOSEN WORKS (please email “” directly about  more information)

All works are by Sara Sarshar- copyright @sara.sarshar_ (unless stated otherwise)



Unutterable Unknowing”, Nov. 2020

Unutterable Unknowing is a journey, a semiotic journey towards finding a representational form for the unrepresentable. Unrepresentable— because it is stigmatised, taboo— unspeakable in our social structure. I’d like to begin by introducing my installation and the sculpture I have made as a living entity— a sacralised and ancestral being.  Our human body (as the viewer) begins to merge with this being through our interaction, we slowly realise ourselves within the sculpture, does the sculpture become the mirror of our own thoughts? Is the sculpture independent, its own being?  I believe it can not exist without us, but it is alive. Thus, this intelligible being (object), is made to speak—interrupt silence.  It’s “speech act”, however most definitely does challenge semiotic rule and accepted truths. Unutterable Unknowing as witness divulges between “evidence of the event” and “event of evidence”. The work becomes an utterance and form of speech impossible to fully understand. A form of remembering that which we have not directly witnessed or experienced. A relic, defined as: an object surviving from an earlier time, especially one of historical interest, an object of reverence. My aim is to use this installation as a revenant of a dismembered past. The works formal qualities include a head and hand formed with ashes and synthetic plaster, a motor embedded in a steel weapon welded together by my sturdy but tired hands, a tied tongue in the form of a rope, finally placed in the midst of the teary grass as the trees whistles, the breeze roared, the tide washed and danced—



“Through Ashes we Sing”, October 2020

A sacralised and ancestral landscape (/figure/object)- created, imagined and remembered (in my most recent work: using soil, ashes, sound, rope, movement). Memories reincarnated into a new body/landscape/object – centralising concepts such as natq and xenoglossy. Remembering that which, we have not directly witnessed or experienced- an insurgent nostalgia, lived in our imagination. The aim of my work is to act as revenants of a dismembered past. My work at times triggers signs of dislocation and displacement within the space, which allude to the heightening of human senses and emotions of the viewer. This is often addressed in relation to violence and the act of social collective silence towards violence. How can we find the semiotic system we need to address unrepresentative violence? Direct witnessing falls far from the concern of memory, reliability and exact details of the violent event. Rather than attempting to locate the exact memory, my work aims to explore a semiotic system which moves beyond solely direct, reliable, detailed testimony. It aims to explore the very conscious disconnectedness, not remembering, and concept of silence as modes of testimony in relation to violence and its depth. I aim to return the violated body, the lost voice, repressed desires and emphasise the very need to heal our flesh and pained body through modes of representation, thus the breakage of silence (with use of symbols, metaphors and visual representations).



“Where Am I?”, October 2020

Archive footage+ my own footage+ own sound through AI + own text.

I am floating,

The sky darkening,

Where am I?

I am aware of its vast depths ——Metaphors and similes——I am becoming—-The light is shining——Leftovers of the universe——Here is a novel read in one sitting —–Here is standing still—-Here is floating—–I listen—-The birds chirping

Here I am dancing with my unconscious—-Creative energy from the central ironies of the human condition. The sign to cease all energy, is this sickness? No, Energy. Dragging my feet in the mud. Expand——Expand your imagination —–Are you shying away? Would it not be better to give this unconscious the place in reality which it is due? The limits ——-The limit of our unconscious imagination. Transcend our fear and clinging. Perhaps the root to reality is in our dreams. Am I dreaming? Where am I ? Which semiotic system, regime of signs exists in the virtual realm I am in? Is this utopia we are speaking of? Prohibition of transgression. I was meant to write but it was all moving so fast . To have to try to . Be born as a machine. A machine of signs, a regime of signs. The final avatar of my soul. Discovery——-Description—–Delirium . Truths that may not live in our world in this world my body is a weapon my weapon —–To stand before the mirror point of collapse am I becoming? Is this my body? Every inside has an outside.



“Tug of War”, July-September 2020

An interactive sculpture to pull. Bronze Head, Steel Wall Plinth, Rope.

“Tug of War” : “Tug of war is a sport that pits two teams against each other in a test of strength: teams pull on opposite ends of a rope, with the goal being to bring the rope a certain distance in one direction against the force of the opposing team’s pull.” The audience is welcome to pull at the rope. The work should allow the audience to question themselves and their thoughts in relation to the installation. Do they/do you, trust themselves/ yourself enough to pull at the rope? The ambiguity of the work acts as a mirror for the viewer. The experience of my work is aimed to create an internal dialogue which states, wait, stop, there is something to be seen, it is personal, it is political, it is open: an invitation to hallucinate. The internal dialogue is left open for the viewer to determine. Through this engagement with an audience, my work serves as a form of activism. Activism is reached through the dialogue which occurs after the initial attempts of thought, through discussion, through emotion, through experience.

The title “Tug of War” refers back to the fractured figures, repetitively present in my work. These fractures often represent how shamelessly we have failed to create a discourse on violence. This discourse, however, is still possible; and it is possible to make is transgressive. A portrayal of how our social structure is not intransigent, such aims are bridged with formal qualities of my work. Often I aim to include disguised metaphors and symbols in the work. Such metaphors concern themselves with societal structures, how silence can contribute to violence: how when we fail to speak out for fear of breaking taboos, we enable violent circumstances to continue. Here, the main symbol my work is centred by is the rope, which drives through the head.

I have derived this symbol from the saying of the “tied tongue”. The tongue thus becomes a physical rope, it is tied. The qualities which we might align with “tied tongue” appears in concepts of secrecy—it is secrecy that I hope it is such to deconstruct through the action of pulling. Therefore, the title “Tug of War” becomes a synapsis for the “tied tongue” symbol. Through the action of tugging the audience is able to play a role in the deconstruction of silence, secrecy and violence.



“The umbilical cord of the dream.” , June 2020

That which reaches us immediately, and may seem clear at that distinct moment, becomes filtered through what we soon realise is a long detour of words and mediation. We experience ourselves enslaved between torn between what we know and don’t yet understand. The representation the unknown, or potentially unknowable, becomes imperative for both the artist and us, as viewers.The installation is, simply, presented to us, yet the image relies on us to be understood. In this way it holds our thoughts and our judgment: within its presence will ultimately be what we think of it. Thus, can we separate the work itself and how it acts as a mirror of our own thoughts? The regime of interpretation and representation becomes directly linked with one another. The work relies on direct engagement. The direct engagement between the viewer, the installation, space and work holds empathy within its power of connection and mirror affect of ones own being. It is looked at, rather than seen through, with its effective ability to occupy the space not only through visual factors but also with sound. The choice to include sound adds a new dimension to the space, in which the human senses are active but not overloaded. An overload of activating the human senses comes with the responsibility of the viewer shutting down and disassociating, rather than engaging with the work. Thus, my conscious decision to use two senses allows for the work to speak, and permits semiotic exchange through informing our feelings. We encounter a dialogue between our inner selves and our feelings which the piece informs. The installation comes into existence, it breathes through its sound, it speaks, it is finally brought to life through the viewer and their thoughts.



“Breathe Through Me”, January-February 2020

I chose installation as artistic mean, because it creates a spatial impression. “I’ll breathe through you” allows for an opening into a balance between saviour and helplessness within a world of violence, thus, a dystopia. The only means of oxygen in a world no longer consisting of air to breathe is through the means of another person. Therefore, only through you I breathe, there is a tube object connecting the two masks. The gas mask is seal for the face to protect the individual. It simultaneously emphasises a transgressive atmosphere, thus shifting into themes of the cultural, social and public. The paintings portray graphic nudity and sexual acts, therefore envisioning a narrative, which works together with the sculptural object centralised in the room. The sculpture and the paintings are woven together through the act of installation. Although each are individual pieces, which can be regarded independently, when shown together the narrative of the subject grows into further socio-political routes. Continuing themes of secrecy, the re-invented gas mask connects two heads allows for a new form of communication. Thus, isolation Through finding a semiotic channel, the connection of two spirits allows for the space to renovate, renew and recreate. Communication allows for the growth of communities smothered by secrecy and secrets. The physical bodily channel connects the two, thus, once again allows for a system to breathe and receive oxygen. Within the space of renovation, the ability to breathe is emphasised. This is an independent piece of work.



The dream is fading, the dreams are fading…

the memories exhumed

I stood with feet planted firmly, I stood as tall as a tree, I stood amongst the trees, I stood

And I grew

I grew

“I am waiting- waiting for this test to end”, October-November 2019




“It poured, I bled onto the pages”, May-September 2019




“Learning to Lie- I’ve lost the rope inside me”, March-May 2019



“Bang Bang, You Shot me Down”, March 2019


“Tied my tongue-Clasped my mouth shut-Stitched my lips together-I tied my tongue”, April 2019



“Forgive the Devils Deed”, January-February 2019



“Easier to crucify myself in you”,  November-December 2018




‘Rescuing the inner-self’, September- October 2018

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‘Sleeping Beauty’ Sculpture, June-July 2018





‘The Last Breath’ installation, June 2018



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‘Merry go Round’ Installation, May 2018

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‘A Wall’ mural, May 2018


‘Playground’, 2018


‘Cupid’s Lost Lover’ film stills , April 2018



“Upside Down I Fall”, March 2018



“Tied in”, March 2018

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“Saint Gabriel” film installation still, February 2018


‘Mary’ film still, January-February 2018


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‘The Rise’, January-Febuary 2018


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‘The End’, January- February 2018



‘The Lost’ series

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‘Stolen Moments’ Series


‘Underswell’ film still, January 2018

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STOLEN INNOCENCE, May- November 2017

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