Sarah Kottek's practice consists of borrowing, recreating and adulating for moments of familiarity pulled from vast and varied archives. As the voyeur watches as a means of possessing, Kottek selects and paints as a way of attaining and attaching permanence to the intangible, and the fleeting. The time and labour involved in Sarah’s practice allows the act of attainment to become one of reverence and devotion; not only a devotion to external entities but devotion to oneself. In Sarah’s own words: “I have spent a large portion of my time relying on the inanimate to provide me with things I could not source from the people around me. Namely permanence, and the associated reliability and security. As objects become trustworthy, the ‘inobject’, memories, feelings, etc., become untrustworthy. By translating the aforementioned into physical paintings, they become real for me. Each painting in 𝘛𝘩𝘦 𝘗𝘳𝘰𝘮𝘪𝘴𝘦 𝘰𝘧 𝘗𝘳𝘦𝘴𝘢𝘨𝘦 holds a moment, and with it, the promise of its truthfulness.”