BORN: - - ENGLAND, 1974 - - - - - LIVES/WORKS: - - LONDON, ENGLAND - - - - - EDUCATION: - - 1992-1997 BACHELOR OF ARTS MELBOURNE UNIVERSITY / BOSTON incl SCHOLARSHIP TO BOSTON COLLEGE 2003-2004 MA FINE ART CITY AND GUILDS OF LONDON ART SCHOOL - - - SOLO EXHIBITIONS: - - 2007 Blondes Galerie Bugdahn und Kaimer, Dusseldörf 2005 Sullen Teens Galerie Bugdahn und Kaimer, Dusseldörf - - - SELECTED GROUP EXHIBITIONS: 2008 The Future Can Wait Ellis Rumley Projects, Atlantis Gallery, London 2008 The Past is History 1 and 2 Changing Roles Gallery, Rome/ Naples 2008 Bin ich schön? - Bilder von Frauen Kunsthalle Lingen, Germany 2007 The Future Can Wait Ellis Rumley Projects, Truman Brewery, London 2007 Zurück zur Figur - Malerei der Gegenwart KunstHaus Wien, Vienna 2007 Painting Now! Back to Figuration Kunsthal Rotterdam, Rotterdam 2006 Kijk Naar Mij 50 Portretten uit de Collectie de Heus Zomer” Veluws Museum Nairac, 2006 Zurück zur Figur - Malerei der Gegenwart Museum Franz Gertsch, Switzerland 2006 Einfach So Galerie Bugdahn und Kaimer, Dusseldörf 2006 Zurück zur Figur - Malerei der Gegenwart Kunsthalle der Hypo-Kulturstiftung, Munich 2005 New Figurative Realism Charlie Smith london, London 2005 Sommergäste Galerie Bugdahn und Kaimer, Dusseldörf 2005 Neither Flesh nor Fleshless… Clapham Art Gallery, London - - - AWARDS & RESIDENCIES: - 1996/7 Art Scholarship to Boston College, Boston US - - - BIBLIOGRAPHY: - 2006 Nov  “Deutllicher Sprung nach vorn”, Handelsblatt , Germany 2006 June "Zurück zur Figur - Malerei der Gegenwart", Germany 2005 Nov “Tipp Extra: Sarah McGinity, Bugdahn und Kaimer”, Kunsttermine Germany 2005 Nov  “Junges Blut in alten Hallen”,Schweizer Illustrierte, Switzerland 2005 Nov  “Zwischen Realität und Imagination”, Handels Zeitung, Switzerland 2005 Oct “Sarah McGinity: Imaginäre Porträts” Dusseldorfer Stadpost, Germany 2005 Oct Future events Frieze magazine, October issue, London - - - COLLECTIONS: - - Heus Zomer, The Netherlands Private Collections in US, Germany, UK - - ARTIST STATEMENT: - The work is a discovery of the inauthentic portrait, emphasising the artificial and superficial. I try to get the skin to appear like a perfect, impermeable surface more apt to recall a doll, with a highly reflective sheen. On the other hand it is slightly dramatic in it’s use of the face as the subject. The faces are not portraits of real, existing people, they have not been painted from life. It is type images that I create, by means of a synthesis from the stock of memory, photographs and invention.