There is no plot except in retrospect. and the starting point is always not knowing….
Sarah Tutt’s practice is situated within the expanded field of drawing. Working with materials such as graphite, paper, clay, the body, ice, soil and breath. She makes drawings, installations and films.
Sarah’s practice is process led. She is particularly interested in how materials, bodies and agencies come together in drawing; in the touch-points that occur when they do; and the unruly lines that they might produce - ones that have their own trajectory, that are responsive, that shift, are wild, settle, derail, abscond, entangle or become exhausted. Mark-making is often used as a way to hold closeness. Repetition is used as a method of research in the form of multiples, series, gatherings, conjunctions, translations, layers, and iterations. Gesture is a central, choreographic vocabulary within her drawing practice. Drawing is approached as an act/event/experience, where line does not know its destination of form as it sets out on its journey. In drawing, form is unknown whilst a line is in action. Line leaves without knowing where it will arrive. It is simply orientated forwards and away into uncertainty.
Writing is also part of her practice, writing within and outside of her drawing practice. Most recently her research has concentrated on score writing as a way to translate process inwards to the artist and outwards to others. She works from a studio in Nottingham, UK and is currently undertaking a PhD at Nottingham Trent University.
C.V.
2024
· Film ‘Cabeceo’ (2024) screening at Drawing Articulations. Radical Drawing Symposium. Leeds School of Arts, Leeds Beckett University.
· Speaker on “Thinking Through Tango” at Midlands Conference on Critical Thought. April 2024.
· Group Show -PLOTTING - drawing as thread, touch, residue. Gray's School of Art, Aberdeen.
· PhD candidate, Nottingham Trent University.
· Member of Drawing Research Group, Loughborough University.
2023
· Residency - Air, Sea and Soil. Museum of Loss and Renewal. Orkney.
· PhD candidate, Nottingham Trent University.
· Member of Drawing Research Group, Loughborough University.
2022
· Publishing - Contributor to “When Seams Become Audible”. Beam Editions.
· AA2A Artist in Residence, Loughborough University.
· Publishing - Black Book: Drawing and Sketching Scientific Journal.
· Member of Drawing Research Group, Loughborough University.
2021
· AA2A Artist in Residence at Loughborough University
· MFA. Nottingham Trent University (Distinction).
· Group Exhibition. Drawn to Time. Guest curator Susan Kemenyffy.
· Group Exhibition. The Line Drawing Project . Curated by THE LINE MIAMI.
2020
· Group exhibition. LIM(I)NAL – new drawings by Alastair MacLennan and others made in response to score.
· Group exhibition. Harley Open 2020. Harley Gallery, UK.
2019
Group exhibition. Expanded Studio Project, PS2, Belfast, Northern Ireland.
· Group exhibition, Expanded Studio Project, Primary, Nottingham.
· Group exhibition. Aftermath. Nottingham Contemporary.
· Reader. But I Know This City. Being Human Festival, Nottingham.
· Associate artist (writing). Nottdance2019.
Pre 2019
· Publishing - A Personal History essay commissioned by The National Review of Live Art.
· Dramaturge. Lady Muck and Her Burlesque Revue. Marissa Carnesky.
· Lead performer. Nothing Lasts Forever. Semblance Theatre Company, London.
· Artistic Director. Sarah Tutt and Co. Performance Company.
· Award. Barclays New Stages Award for Best of New British Theatre.
· Visual Arts project commission Careography – NOW festival, Nottingham, UK
· Artistic Director. Dogs In Honey performance company
· Dancer. Lea Anderson/Jean Paul Goude's Bicentennial Bastille Day Spectacle (see 1:54 onwards), Paris, France.
· Award. Gulbenkian Foundation Arts Research Grant for choreographic research.