news and events

Collaboration with 2Squared

I am thrilled to announce an artistic collaboration with piano duo 2Squared. 

2Squared pianists Nicole Brancato and Andrew Ranaudo together craft imaginative, intellectual, and memorable concert experiences fit for the 21st century. They perform music by Franz Schubert, Felix Mendelssohn, Alfredo Casella, Erik Satie, Francis Poulenc, and contemporary composer Joel Pierson. They feature collaborations with myself, visual artist Patte Loper as well as historical multimedia pairings.

I’ve created a simple intervention where I project a bird’s eye view of 2Squared’s hands as they play. This live-feed video projection is a response to the frustration of not being able to see pianists’ hands during performances. The intimate and sometimes violent interaction between Nicole and Andrew in such a contained space is mesmerizing to watch. 

There are four upcoming performances:

Arrangement: a solo exhibition at Littlefield


An exhibition of collages handing at Littlefield, in Brooklyn NY for the month of January 2017

Sarah Nicole Phillips creates collages with discarded, patterned security envelopes diverted from the waste stream. Security envelopes are used to camouflage private documents with their decorative patterns. The secrets contained within these envelopes form the dull, bureaucratic infrastructure of contemporary life. Some of the work contains traditional office imagery like drop ceilings, cubicles and uninspired lobby décor, including still lifes of artificial lobby floral arrangements. These collages represent a fantasy in which the material of the reliable, boring disappointments of life, are transformed into a means of escape.


Littlefield is a performance and art space in Brooklyn’s Gowanus neighborhood. Housed in a 6200-square foot textile warehouse dating from the 1920s, Littlefield merges the Gowanus’ industrial past with a sustainable future. These elements include a landscaped interior courtyard, sound walls and ceilings formed from recycled rubber tires and cork, respectively, bar and table tops built from salvaged bowling alley lanes, and chairs made with recycled cork. Future projects include a grey-water system and a landscaped roof that will reduce Littlefield’s footprint to virtually zero. View Littlefield’s events calendar.


Artwork included in NYU Langone Hospital Collection

I am thrilled to report that 20 of my envelope collage were collected by NYU Langone Medical Center. They are hanging in exam rooms of a clinic for pre and post orthopedic surgery patients.

From the NYU Langone website:

“The NYU Langone Art Program and Collection integrates artwork of the highest quality into the healing environments of our new and recently renovated facilities. Conceived by Vicki Match Suna, AIA, vice dean for real estate development and facilities, the program is built through acquisitions, commissions, exhibitions, and donations of art, as well as through other visual arts-related programming. Its collection has a diverse portfolio of works: paintings, sculptures, installation art, and murals.

In recent years, art has become increasingly important to many healthcare environments. Studies have shown that art in this setting can improve patients’ overall health outcomes, treatment compliance, and quality of life. Art also helps create a positive environment for caregivers, helping to reduce stress, and for employees, improving overall workplace satisfaction.

The collections at NYU Langone foster a welcoming, healing environment that supports our mission to treat the whole patient by addressing emotional as well as physical needs.”

Ex-Mail Room Worker Cuts and Pastes Envelopes into Otherworldly Office Space

by: Andrew Salomone — Sep 18 2016
published in Vice’s The Creators Project
View the original article here.

Interview with Artist Sarah Nicole Phillips

by online journal Anti-Heroin Chic
August 6th, 2016
view original post here

AHC: Can you tell us a bit about your process, themes & inspirations?

Sarah: I am trained as a printmaker though for the past seven years I’ve been creating collages with discarded patterned security envelopes that I collect from my own life and the lives of friends, family and strangers interested in giving the material a life beyond it’s intended use. I began working with the material in 2008, when I worked an office job that required me to sort the mail. While opening the mail I noticed the large variety of intricate patterns used to line the envelopes and was spurred to create art out of this abundant, free material.

My first security envelope collages were small and depicted scenes of dense grasses and flora that echoed the material’s use as a camouflage for private and sensitive documents like invoices and statements. As I collected piles envelopes I learned there are hundreds of patterns and devised a system of sorting them by color, tone and pattern. As I developed my technique and repertoire of envelopes I created landscapes that became increasingly elaborate and dystopian. Some images depict the natural environment rejecting current earthly circumstances in exchange for an alternative. I conjure images of mass evacuations of plant-life: an entire forest orchestrates a location swap with an other forest from the beyond, a body of water breaks apart as it pulls itself into the sky as an aqueous rainbow, leaves and trees soar or are lifted away by alien beams of light.

My latest body of work includes traditional office imagery like drop ceilings, cubicles and uninspired décor. Offices are designed to maximize efficiency, indifferent to the cost of human comfort and happiness. The cubicle in particular has become a symbol of unfulfilling, monotonous, paper-pushing work so I make images that infiltrate these sterile spaces with vegetation. The result represents a fantasy in which the material of the reliable, boring disappointments of life, are transformed into a means of escape.

My collages call attention to the intricate patterns of the envelopes that are designed to be unseen. The patterns in this overlooked material are surprisingly delicate and beautiful, reminiscent of Japanese decorative chiyogami craft papers. I’m encouraging my audience to ponder whether other items in their lives have hidden beauty or could have a second life before headed to the landfill.

AHC: In some of your work you’ve explored themes of nature vs. imposed, constructed orders, and, also it seems, notions of precarization, both societal & ecological, could you talk a bit about this?

Sarah: For many, the Sisyphean task of paying monthly bills is a chaotic process that results in a precarious, financial house of cards. Reoccurring expenses enter one’s life in an orderly manner, and paying those bills can be automated, yet the system can spin wildly out of control with the introduction of one unexpected expense that disturbs people’s fiscal balance. To an extent, the environment is more adept at absorbing shocks to the system. In my collages, nature and entropy triumphs.

AHC: The Curbside Object Status Tags are fascinating, can you tell us a bit about this practice & what drew you to document it as you have? It also seems to fit other aspects of your work, such as ethical concerns for recycling the materials used in the creative process, is there a connection there for you in that?

Sarah: Curbside Object Status Tags are printed manila shipping tags that facilitate the smooth operation of the informal sidewalk gift economy. Those who place free objects on the curb for other people to pick up, may tie a tag to the object and indicate the condition of the object to people by ticking the appropriate box on the tag. Condition choices range from Works Perfectly to Has Valuable Parts.

I created Curbside Object Status Tags to reduce the inefficiency that incomplete knowledge produces in trash-picking. Leaving objects on the curb for others to take is an environmentally sound behavior that helps divert objects from landfill. I noticed a problem with this practice that needed solving: people who consider picking up an object off the street cannot always discern the condition of said object, especially in the case of electronic items. I have passed by desirable objects because I did not want to risk dragging them home, up two flights of stairs only to find they didn’t work once plugged in. Some people take the time to tape a hand-scribbled note to the object, but most do not.

There is a subset of the population that delights in both discovering excellent street finds, and placing objects out for a new owner to happen upon. When I place an object on the street I spend a moment fantasizing about its future owner and moment of joy they might feel when they find the thing in question. Our motivations may be encouraged by frugality, generosity, concern for the environment or more pragmatic reasons such as a speedy solution to a sudden purge. The coolest thing I found on the street was a pair of perfectly working Mission brand speakers. The coolest thing I put out was a set of bicycle aerobar extensions.

The tags have been popular with users who feel they legitimize the practice of trash-picking and remove some of the stigma of dragging things off the street into our homes. Users of the tags send me photos accompanied with an anecdote about the object or about how quickly it was picked up.

Although more of a utilitarian tool than “art”, I absolutely consider my tags as dovetailing with my art practice. I want people to pause and consider the stuff they throw out.

If you’d like some tags for free send an email to Sarah with your mailing address.

AHC: Do you have any upcoming exhibits or projects you’d like to tell people about?

Sarah: In the winter of 2017 I will mount a solo exhibition at The Courthouse Gallery in the city of Lake George in upstate New York. I am making new collages made with envelopes and unsolicited credit card offers. As I sketch out images in preparation for the show I can tell you the resulting work will be more colorful and abstracted, yet have similar themes I have been working with.

“Cats in Repose” NYC’s Department of Transportation Barrier Beautification Program

I’m thrilled to report my concept “Cats in Repose” has been selected by New York City’s Department of Transportation Barrier Beautification program. On Saturday April 16th, New York Cares volunteers from the National Baseball League and an alumni group helped paint “Cats in Repose” on two pedestrian barriers on East 161st Street between Gerard Avenue and Concourse, in the Bronx.

Cats in Repose celebrates the wide variety and creativity of feline resting positions. This suite of lounging and napping cat silhouettes represents luxury, leisure and laziness, and contrasts sharply with the frenetic hum of movement on city streets.

Vanishing Point

Vanishing Point is a group exhibition curated by Arthur Bruso & Raymond Mingst for Art House, Jersey City, NJ

LOCATION: Jersey City Medical Center/Barnabas Health (the former location of the Jersey City Museum) at 350 Montgomery Street in downtown Jersey City.
Reception: March 3, 2016, 6:30 to 9pm

From climate change to urban sprawl; from sunrises to supermoons; the landscape continues to captivate artists. No longer are we content with the romantic vistas of the Hudson River School or Paulus Potter cows. Contemporary artists have changed the portrayal of the landscape to incorporate conceptual, political and ecological concerns. Join us at Art House for a trek through the wilds of our vision of the world.

Nicole Antebi | Lasse Antonsen | Nancy Cohen | Ian Costello | Michael Dal Cerro | Michael Ensminger | Amber Heaton | M. Benjamin Herndon | Casey Inch | Tom Koken | Ellen Kozak | Sahar Kubba | Robert Lach | Dominic Montuori | Elin Noble | Gilda Pervin | Sarah Nicole Phillips | Anthony Santella | Robin Sherin | Sarah Sutro | Gillian Wainwright | Debra Weisberg

Vanishing Point Opening Reception Vanishing Point Opening Reception Vanishing Point Opening Reception Vanishing Point Opening Reception Vanishing Point Opening Reception

Little Brown Barf Bags


Hot off the press: Little Brown Barf Bags
A reprint of an old favorite.

edition size: unlimited
screenprint on both sides of a kraft paper bag

This is a screenprint that look very similar to a famous department store bag. Little Brown Barf Bag mocks the idea that disposable shopping bags have become status symbols to the point of becoming a fashion accessory.

Cheap! Only $7 plus shipping

Ships via USPS, first class mail
Pick up available in Brooklyn

C O O L A N D C O L L E C T E D ’15 at Kenise Barnes Fine Art, Larchmont, NY

Kenise Barnes Gallery

C O O L  A N D  C O L L E C T E D  ’15

our annual summer show featuring emerging artists under the age of 40 and exhibiting artwork under $4000.

July 23 – September 10, 2015
Opening reception: Thursday July 23, 6:30 – 8 p.m.

Featuring artwork by Kerry Kolenut, David Licata, Eleen Lin, Cara Lynch, Sarah Nicole Phillips, B. Avery Syrig, Marian Williams and Jacob Zurilla

Tuesday – Saturday 10 – 5:30
and evenings by appointment
In home/office consultations by appointment
1947 Palmer Avenue, Larchmont, New York 10538

S(p)lice at Undercurrent Gallery, New York, NY


Hiroshi Kumagai
Sarah Nicole Phillips
Bill Miller
Carlton Scott Sturgill

Curated by Carlton Scott Sturgill & Roberta Kent

Undercurrent Projects is pleased to present S(P)LICE, an exhibition of unique works by four artists who slice and splice materials to create pictures of fragmented landscapes, secluded spaces, private scenes and sexual innuendo.

Each using different materials and techniques, these artists transform familiar objects into tactile reconstructions and new contextualizations evoking the unexpected sensuality of everyday life.

Gallery Hours Sunday, February 15th and 22nd 12-6 p.m. and by appointment