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  SARAH PERKINS

  BLUE TOAD BOWL

  Copper, Enamel. 2020.

  $1,300.

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  SARAH PERKINS

  CONFETTI BOWL

  Copper, Enamel. 2020.

  $1,050.

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  SARAH PERKINS

  STRIPED INTERIOR BOWL

  Copper, Enamel.

  $1,050.

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• SARAH PERKINS

  BLOOMING

  Vessel. Carnelian, Copper, Enamel, Silver. 2008.

  9″ x 7″ x 7″

  $6,900.

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• SARAH PERKINS

  CHRYSALIS CONTAINER

  Copper, Enamel, Silver

  8″ x 5.5″ x 6″

  $5,500.

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• SARAH PERKINS

  CRYSTALLINE GROWTH

  Enamel, Silver. 2019.

  7.5″ x 6.5″ x 6.5″

  Price Upon Request

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• SARAH PERKINS

  CRYSTALLINE GROWTH

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• SARAH PERKINS

  DOUBLE LINE CONTAINER

  Enamel, Pearl, Silver. 2012.

  4.5″ Tall

  $3,800.

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• SARAH PERKINS

  FLOATING CRYSTALS CONTAINER

  Enamel, Silver. 2019.

  7.5″ x 6.5″ x 6.5″

  $6,500.

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• SARAH PERKINS

  GNEISS WITH GARNETS CUP

  Copper, Enamel. 2017.

  3.5″ x 4″ x 4″

  $1,400.

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• SARAH PERKINS

  GREEN ZIPPER BOWL

  Copper, Enamel

  3″ x 4″ x 4″

  $1,050.

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• SARAH PERKINS

  MINAR

  Vessel. Copper, Enamel, Lapis Lazuli, Silver

  12″ x 4″ x 4″

  $4,800.

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• SARAH PERKINS

  PINK FEATHERS CONTAINER

  Copper, Enamel, Onyx, Silver. 2020.

  8″ x 5.5″ x 5.5″

  $5,200.

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• SARAH PERKINS

  POCOSIN BOWL

  Copper, Enamel. 2019.

  3.5″ x 5″ x 5″

  $1,000.

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• SARAH PERKINS

  PUNCHED BLUE CUP

  Copper, Enamel

  3″ x 3″ x 3″

  $800.

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• SARAH PERKINS

  STANDING LANDSCAPE CUP

  Copper, Enamel. 2020.

  4″ x 4.5″ x 4.5″

  $1,100.

  Inquire

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Statement

In my work the metal forms and the enamel imagery work together to make a whole, with the two materials complimenting each other rather than one being visually more important than the other. Technically as well as visually, the pieces are a unit, which is a manifestation of the ideas of integration and relationship that the work addresses. The forms, colors, and imagery in my work derive from two sources: metal technology and natural forms.

I feel a strong affinity for metal and I am fascinated by its permanence, malleability, strength and surface qualities. I use directly or copy in enamel some of the colors and surfaces which naturally occur through the various working processes. It is also important that some metal show on the surface, rather than being simply the support mechanism for the enamel, because I want to show that the finished piece is a relationship between and a collaboration of two media.

My work reflects my emotional response to my environment, referring to landscape, body part, or natural object. In the jewelry pieces and recent vessels I am concerned with organic imagery. The forms and color imagery are derived from leaves, fish, and other natural objects because I find these modulations of color, texture, and surface both appealing and very intimate.

Selected Collections

• Decorative Arts Collection, Brooklyn Museum of Art, NY
• Enamel Arts Foundation Collection, Los Angeles, CA
• Evansville Museum of Arts and Sciences, IN
• National Ornamental Metal Museum, Memphis, TN
• Numerous private collections throughout the United States and internationally