QUT graduation. Samida receiving her Masters degree in fine arts.
The place to begin with Samida’s work is witnessing the absolute, joy evident in the paint handling process.
The painting begins life intuitively fluid and loose, eventually find their way to defining the forms and finally, their various patterns and resolutions. Along the way patterns of shapes appear to seep in until an eloquent balance is established between the emotion of the paint and texture. The equilibrium is never tipped to favor one or the other. Instead both make their presence known in a way that illuminates the other and overall strengthens the painting.
Beyond the narrative, it is her actions while working on a single piece (often squeezing paint from a tube directly onto the canvas, and then working it around to interact with other colours) that best expresses her approach to making art. You see the painting originate subliminally as it slowly resolves itself into a textured balance.
The video presentation on this website, offers a magnificent window into how Samida brings this about.
The lasting effect is to evoke a quiet, though persistent, intensity. These are not the sort of paintings to get directly in your face but instead, given adequate time, weave themselves into your being.
Given her approach, Samida Sargeant might be described as an ‘Abstract Expressionist’ in contrast to the ‘indirect expressionist’ world she had studied at Queensland University of Technology. (QUT) In 2004 awarded a Master’s degree in mixed media and fine arts. This says a great deal about the distance she has traveled with her art since her first piece over 20 years ago.
For a long while Samida’s palette has been muted. Being the owner of a successfully business, the running of which has absorbed much of her time in the last few years, although her desire to paint has never left her in that time.
“So what emerges from my work is this: Shape, color & texture has an enormous ability to empower imagery with the added capacity to affect the perception of reality. I have often wondered why abstract paintings done several decades ago have the same quality of immediacy and accessibility I see in paintings of today - as though the paint may have been wet only last week.”
by Steve Asker