Sarah Easterman is interested in socially engaged, site-specific and participatory possibilities in performance. Her work is inter-disciplinary and has been shown in visual art, theatrical and site-specific contexts. Working across comedy, drag, installation, sculpture, performance, and moving images, she is interested in mapping the terrestrial aesthetics of motherhood, domestic architecture, loneliness, love and the politics of care giving hierarchies. She uses humour as a means of bringing the viewer into the present moment with the intention of reminding them that they exist only for a short time.
Sarah’s individual practice straddles the space between theatre and the gallery. Her work courts the humorous and sensual, liminal space allowing for reflection and comment on queer experience and more broadly the human condition. In her work movement is used to uncover the processes of knowledge acquisition, how we move through space and time when commanded or led by certain intrusions and instruction, both internal and external. Through her work she endeavors to untangle the myth of woman as nourisher, and is interested in what the female destroyer looks like.
Sarah trained at Theatre Nepean and College of Fine Arts, Paddington. She is a founding member of the collective Big Muscles Sad Heart. Theatre credits include: Born of a Light Bulb it Seemed, Flying Nun by Brand X, JobReady ( BMSH/Sydney Fringe & Old 505) Olympia Olympia! (BMSH/PACT), Never Going Home (dir. Once Were Islands/ Ballhaus Ost Berlin), Milkmilklemonade (dir. Melita Rowston/New Theatre), A Hamlet (dir. Daniel Schlusser/Seymour Centre), Spurboard (dir. David Berthold/ATYP), Miss Julie (dir. Tim Robins/Old Fitz), Lady Grey Tease (Edinburgh Fringe). She is a passionate storyteller.
