Sarah Cameron Sunde is an American, New York based interdisciplinary environmental artist. Her most notable work to date is 36.5 / A Durational Performance with the Sea, a public, video, and performance artwork made in collaboration with water and communities across the world.
art, artist, water, visual
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Sunde started directing while studying theater at the University of Exeter in England, 1997-98, and was influenced by European traditions of expressionism and devising theater. Her directing work has been noted for its “fierce poetic simplicity” (The New York Times) with a “European eye for the power of theatrical design” (The New Yorker). 

Since moving to New York City in 2000, she has directed several U.S. debut productions of plays by contemporary international master playwrights: THE ASPHALT KISS by Nelson Rodrigues, THEN SILENCE by Arne Lygre, and her own translations of NIGHT SINGS ITS SONGS, DEATHVARIATIONS, SA KA LA, A SUMMER DAY, and DREAM OF AUTUMN by Jon Fosse, Norway’s foremost contemporary playwright, who considers Sunde “his American voice.”

Other notable credits include directing/developing world premiere productions of American plays: THE AMISH PROJECT by Jessica Dickey at Rattlestick, The Cherry Lane, Guthrie Theater, et al., WHAT MAY FALL by Peter Gil-Sheridan at the Guthrie Theater, NO PLACE CALLED HOME by Kim Schultz at the Kennedy Center et al,  THE DIARY OF A TEENAGE GIRL by Marielle Heller with Rachel Eckerling at 3LD Art & Technology Center (now a feature film),  and GOOD HEIF by Maggie Smith at New Georges, where she served as Deputy Artistic Director from 2001-2017.

Most recent major projection: a contemporary version of THE AENEID by Olivier Kemeid at NYU Abu Dhabi’s performing arts center, fall 2017.