Sarah Cameron Sunde is an interdisciplinary artist and director working at the intersection of performance, video and public art. She is creator of 36.5 /A Durational Performance with the Sea (an ongoing work spanning over seven years and six continents) and instigator/co-curator of Works on Water (a new triennial and artist-driven experimental organization dedicated to art that is made on, in and with the water). Sunde served as Deputy Artistic Director of New Georges for 16 years (2001-2017), co-founded the live art collective Lydian Junction (2011-2015) and theater company Oslo Elsewhere (2004-2012), and is known internationally as Jon Fosse’s American director and translator (five U.S. premieres in New York and Pittsburgh). As a visual artist, Sunde’s solo shows include Te Uru Waitakere Contemporary Gallery (Aotearoa-New Zealand), Gallatin Galleries (New York City), Georgia Museum of Art (Athens, GA). Her work has been seen and experienced at the Scottsdale Museum of Contemporary Art, 3LD Art & Technology Center, the Knockdown Center, EFA Project Space, Rattlestick, Kennedy Center, Guthrie Theater and presented internationally in Norway, the Netherlands, Bangladesh, Brazil, Mexico, China, Uganda, and Iraqi Kurdistan. Residencies include LMCC Workspace, Watermill Center, Hermitage Foundation, Baryshnikov Art Center. Honors include a Princess Grace Award, Creative Climate Award First Prize; Funding from MAP Fund, Invoking the Pause, LMCC Creative Engagement, LMCC / Upper Manhattan Empowerment Zone, Norwegian Consulate, Amsterdam Fonds voor de Kunst. She holds a B.A. in Theater from UCLA and an M.F.A. in Digital and Interdisciplinary Art Practice from The City College of New York, CUNY, and is currently adjunct teaching at Purchase College in New York State. SarahCameronSunde.com
I make site-specific live performance works and video works that play with scale and duration, and engage the public directly in questions around deep time and our human place in the environment. My work is an intimate encounter with our ephemeral nature. It rides a fine line between complete abandon and utter control, action and stillness.
Time is my primary material, both in content and form: I investigate ideas about “temporality of place,” long-term thinking, and play with duration in order to expand individual and collective sensory experience.
I create interactive situations that strive to stimulate dialogue between strangers and open new possibilities between the everyday and the existential. I believe in collaboration across disciplines, juxtaposing seemingly disparate materials, serendipitous encounters, and letting narrative emerge.
Much of my visual arts process is informed by two decades of work as a theater-maker, director and translator. Since 2011, I have been experimenting with video and crossing formal boundaries. Now my practice based primarily in the visual arts. actively crossing formal boundaries, and become more and more rooted in engaging with communities, both local and global.
Much of my process is informed by many years working primarily as a theater-maker, director, and translator (1999-2010). Since 2011, my practice has moved into the visual art realm. My current interests revolve around breaking down barriers between the human and the more-than-human world. Water became a primary focus after Hurricane Sandy hit NYC in 2012 and I realized that with sea-level rise, our urban cities are just as vulnerable as our individual bodies.