SARAH GREIG
Picture Transitions (Storefront)
This year the bursary for artistic production is given to Sarah Greig, a Montreal based artist whose practice begins in drawing, in a history of a line, in visual evidences of a working methodology. Greig’s focused practice is both self- generated and intensively responsive to the immediate context of its making. Developed over the last 15 to 20 years Greig operates on the sideline of the art world, with little regard for its demands and its imperatives. In doing so, she pursues a practice that unfolds on its own terms, according to its own pace and its own logic. Periculum wanted this year to support this type of approach to artmaking and particular stance to the social and political context of art. A practice and a being-artist that stands in its own space and time and whose legitimacy we wish to bring forward.
SUPPORT IN ARTISTIC PRODUCTION – 2026
SUPPORT IN ARTISTIC PRODUCTION – 2026
ProjeCt
Picture Transitions comprises works made in marginal or inherently temporary locations, where the conditions of the site function as material, apparatus, and framework for making an image. Engaging relational ecologies and infrastructural critique, the work uses material processes and expanded drawing to investigate the interconnection of production, exhibition, and documentation. Each work develops as a trace of its own making—a record of both what appears and the conditions that shape the artwork and its encounter. Circumstance becomes form. As in drawing, where the support makes the line visible, context reveals the workings of the image. The institution, too, functions as a mechanism of visibility, framing, authorizing, and directing engagement. The work enters these structures while unsettling their edges, occupying the spaces between container and content, visibility and exclusion, inside and outside.
The project proposed tentatively titled Picture Transition (Storefront), will be developed over the next 18 months and extends this inquiry to focus on the space of the document and its relationship to situatedness, positionality, performativity, and spectatorship. Conceived as a drawing for a storefront window, it brings artwork, site, and viewer into contact. The storefront becomes both a space of production and display, while the window operates as surface, threshold, and mirror. Visibility is never neutral; it is produced through spatial, institutional, and social relations. Upon completion, the work exists simultaneously as image and event, representation and action: something presented to the viewer and something activated through the viewer’s presence. The image does not simply occupy its terms of visibility; it reveals them and participates in the conditions of making.
The storefront functions as both a site of production and, at intervals throughout the work’s development, a space of exhibition open to the public. All are welcome.
The project proposed tentatively titled Picture Transition (Storefront), will be developed over the next 18 months and extends this inquiry to focus on the space of the document and its relationship to situatedness, positionality, performativity, and spectatorship. Conceived as a drawing for a storefront window, it brings artwork, site, and viewer into contact. The storefront becomes both a space of production and display, while the window operates as surface, threshold, and mirror. Visibility is never neutral; it is produced through spatial, institutional, and social relations. Upon completion, the work exists simultaneously as image and event, representation and action: something presented to the viewer and something activated through the viewer’s presence. The image does not simply occupy its terms of visibility; it reveals them and participates in the conditions of making.
The storefront functions as both a site of production and, at intervals throughout the work’s development, a space of exhibition open to the public. All are welcome.
biography
Sarah Greig holds a BFA in Drawing from the Nova Scotia College of Art and Design University and an MFA in Open Media from Concordia University. For many years, she has made work in peripheral or inherently temporary sites. Using something from the site to make an image, the work in the end is a record of the process, a composition. And although it is manifested most often in photography, it is essentially process-based drawing. The making becomes the drawing itself, the parameters of its condition become its eventual form. These experiences of being within a particular place reveal another kind of space, at a distance and in relation. Image and action relate to each other as part of what is—where the action of the image and action in general are closely intertwined. Greig was resident at the Fonderie Darling from 2013-2016 and teaches drawing at Concordia University.