For seven years the artist has created paintings with a tremendous amount of visual data. At first she called them "White Noise." Now, in an overwhelming exhibition at the Roy Boyd Gallery, they have become a "Blindsighted" series. But the titles make no difference. The operative principle still is: More is more. And these pieces exceed in elaborateness even the complex tactility the work had in 2005.
Often working within the stability of a square format further stabilized by a grid, Krepp then covers passages from scientific charts, maps, musical scores and dance diagrams with tubes wrapped with thread, game board pieces and sprays of tire rubber. The sprigs, which burst from the surface, occasionally are balanced by holes that burrow into it. The entire surface may also sprout "hairs" that bristle one by one and create waves when seen together.
A group of works on paper present a single sprig elaborated by drawing on each sheet. They are like letters from some unruly, indecipherable alphabet. Krepp has created, after all, a kind of alternative language from bits of communicative systems. Smaller works here seem to (but do not actually) present individual components. Either way, the results are optically thrilling.
- Alan Artner review, Chicago Tribune, March 2009.
... For the second year in a row, for example, I found myself sucked into the gravitational field of the busy, information-packed yet oddly unified work of painter Sarah Krepp, whose latest pieces, in the Roy Boyd Gallery booth at Art Chicago, featured three-dimensional protrusions from their surfaces. At once cerebral and sensual, her work envelops you in an intoxicating world of portent and color -- often a rich, vaguely sinister mix of red and black -- and makes you wonder why she isn't world-famous. She should be.
- Kevin Nance, “Just Like the Good Old Days”, Showcase (photo), Chicago Sun-Times, May 2007.
SARAH KREPP creates work that presents a tremendous amount of data that comes from such sources as scientific charts, maps, music, and even dance diagrams. Sorting everything out makes significant demands on a viewer. The optical pleasure is, however, equally significant. And while this kind of content, with its metaphorical warning of engulfment, is satisfactorily conveyed, it seems more peripheral than essential.
- Alan Artner, Chicago Tribune.
There are two things I particularly love about seeing shows to write about in my art letter. One is when I find an artist previously unknown to me who knocks my socks off. An two is when an artist I've been following for years makes a brave and solid shift in her or his aesthetic. This week, the first event happened once and the second twice...
Sarah Krepp's show opened at the Chicago Cultural Center a few weeks ago, but her work is so strong that I want to recommend it. What I find striking are the multiple layers of content, the beginning point being of tracing wind currents and flight patterns to generate natural flow lines. Imbued with a 'push me, pull you' balance of manipulating foreground and background, I love how she expands painterly issues as her art takes on greater dimensionality and movement.
- "Three Strong Shows", Paul Klien, November 15th, 2012.