A native of southwestern Indiana, Sarah Wolfe has lived and studied in Savannah, GA (Savannah College of Art and Design), Bellingham, Washington, and Bloomington, Indiana. A former and forever-recovering restaurant owner (Farmer's Daughter Bakery and Cafe in Princeton, In), she also currently teaches private art and cooking classes.

She has exhibited her artwork in Washington, California, Missouri, Illinois, and Indiana. She is a member of the 2021 On-Ramp Art Cohort of the Arts Council of Indiana. She is a contributing writer to the local magazine, "Life On the Wabash". When she's not covered in paint, dirt or bread dough she is tending to her family, dogs and garden. She serves on her local Historic Review Board and the First City Public Sculpture Committee.

Notes from “Saying What No One is Thinking”, The Open Space Gallery, Vincennes, Indiana.

Artist Sarah Wolfe gleans color and texture from the natural world to address reproductive frailty and environmental anxiety. Her current exploration in botanical and floral abstractions in the show, "Saying What No One is Thinking" is an effort to catch a glimpse of our natural world from a near childish perspective. These works are created with a deliberate spontaneity and emphasis on color, texture and form. The circumstances of 2020 called for a detour from other works. While her anatomical hearts and sculptural pieces will remain on her continuum, these paintings are a specific response to feeling separate from the outer world and reflect a desire to focus only on the "fun parts" of painting for her. Eliminating all form and tedium allowed for pure, colorful expression. Using only a palette knife avoided the irritation of washing brushes and the constant worry of any working mother--that she would be interrupted with a wet brush in hand.

As is often the case with abstract works, the human eye will insist on finding a form, shape or texture it can relate to and understand. The viewer is at liberty to see what they like, where they like. However, none of these painted works have any representational intent or purpose. They are merely paint on canvas and composed with as much joy and abandonment as possible. As the viewer, you have complete permission to interpret what is in front of you. These pieces have been described as "erotic piles of laundry", "alien transmissions" and "a childhood memory of laying down in a flower patch at dusk". While her various mediums may seem disparate, the theme remains the same: to glean and interpret color and texture from the external world, and attempt to make sense of the artist's own (internal) reproductive failings and (external) environmental anxieties.