it is easier to just carry it all and keep on carrying
Easier still to pass it along in an endless bucket brigade
It’s hardest of all to just hold it and let it pass through
We worry that the holding will go on and on
But carrying has a limit, a threshold
that if crossed too quickly could blow the entire circuit breaker box and every last fuse inside
Which makes the whole house go dark
Ah but we welcome the sudden dark because it’s the only rest we get from constantly carrying
so much pain
and so much beauty
The only way I know to do the trick of simply holding
is to notice it all like a field researcher making notes in her book and drawing the likenesses of plants
Is to play like like a kid in the bath tub
Is to ask over and again
And if luck favors me
if my hands are busy making sparks and pulling fibers
if I offer my fussy mind a pacifier
if I wait long enough
the answers come through
I can show you what my answers look like but I can’t tell you what they mean
Lines and layers, dips and dives, are the same inside us as they are outside and both are the same as all of eternity. An EKG, a row of dripping icicles, the rises and falls of a lived life, all look the same to me from where I’m sitting
in here. "
Raised in Vermont, Farrell studied at the Massachusetts College of Art before earning her BFA at Northern Vermont University. She first fell in love with metal while working as a roofer, learning to install standing seam metal roofing by hand with antique tools.
Over the past decade, Farrell has explored the limitless possibilities of sculptural paper-making by studying at Carriage House Paper in Brooklyn, at Paper Rain Studios in Santa Fe and in her own studio practice. Her work combines handmade paper and hand forged steel in unique and functional sculpture.
The paper making process begins with abaca pulp that has been pre-beaten in a Hollander mixer for 2-4 hours. Retention aid and copper pigment is then beaten into the pulp and a slurry is prepared in the paper making vat with additional water. Sheets are pulled from the vat using a mould and deckle and couched onto pellon sheets. Newly formed sheets are used both wet and dry in a variety of 3D papermaking techniques.
Round and square bar steel of various sizes are used in Farrell’s sculptures, light fixtures and functional art. The steel is cut to size, ground and then heated in her gas forge. The red hot metal is then able to be bent, textured and forged by hammer using a 100 lb Fisher anvil from 1896. Finished pieces are drilled and sealed with beeswax.
Sabrina’s work combines handmade paper and hand forged steel in unique and functional sculpture. Her designs reflect a deep reverence of the natural world, a playful curiosity in her process and respect for her mediums.
You can also find Sabrina in the gallery several days a week working as assistant in the gallery and in the Clementine & Co. jewelry studio on site.