Work samples

  • Fragile Pedagogies - Raising Fear, 2023
    Fragile Pedagogies - Raising Fear, 2023
  • Re/Write
    Re/Write
    Acrylic, Ink, and Pencil on Wood, 2020
  • We Can Be Better Than We Have Ever Been
    We Can Be Better Than We Have Ever Been
    Acrylic on Paper and Panel with Ink, Graphite, and Colored Pencil, 2021 Bibliography - In the Time of Plague - N. Scott Momaday Growing Old, Alone - Annie Lowrey - The Atlantic (1/2/2021
  • Warnings Installation
    Warnings Installation
    Large Scale Installation - Mixed Media

About Sara

Pronouns: She/her/hers - Born in Tulsa, Oklahoma and raised in Portland, Oregon, Sara Kaltwasser is a multidisciplinary artist, and community art educator. Sara currently lives and works in Baltimore City. Invested in Community Art & Practice, Sara's foundation is rooted in art education, history, socially-engaged modalities and collective community development. 

Sara uses painting, installation, collage & assemblage, sculpture, research and performative process… more

Fragile Pedagogies

This body of work explores the relationship between white fragility and rejections of socially-conscious and equity-focused curriculums in all realms of academic discourse. Critical Race Theory, and its relationship to how we understand systems of oppression in this country, is both essential in the present and vital to our future. 

The suggestion that socially-conscious and equity-focused curriculums present conversations around justice, equity and oppression as problematic is rooted in white supremacy and a perceived loss of power. 

When young people learn about the world and its foundations - its histories, and our often challenging relationships to each other, they grow. They develop empathy for their neighbor. They understand that the concept of fairness is often a rigged proposition. They learn that their families bootstraps have been built on other people's backs… and that that is wrong. 

When we hide our histories….When we pretend that oppression does not exist… When we ignore our own complicity as white people, and suppress access to this knowledge for our children, we do them a disservice. We make fragile people that believe they have no connections to systems of power and that change is not necessary now or in the future. That belief  - is dangerous.

It will ruin us all.

  • Fragile Pedagogies Make Fragile People
    Fragile Pedagogies Make Fragile People
  • Fragile Pedagogies - Raising Fear, 2023
    Fragile Pedagogies - Raising Fear, 2023
  • Fragile Pedagogies - You Can't See What You Refuse to See, 2023
    Fragile Pedagogies - You Can't See What You Refuse to See, 2023
  • Fragile Pedagogies - Error 101
    Fragile Pedagogies - Error 101

They Tied Themselves in Knots

They Tied Themselves in Knots is an exploration of the Flag as a symbol for a nation. Using mixed media painting techniques, images create a panoramic landscape where scenes of flags proliferate into chaotic combinations of lines and form. Wrapping around themselves, and other objects, the flag begins to obscure the space, uncontrolled. Inspiration was derived from the following poem as part of the process of creating this work.  

FLAG

What’s that fluttering in the breeze?
It’s just a piece of cloth
that brings a nation to its knees.

What’s that unfurling from a pole?
It’s just a piece of cloth
That makes the guts of men grow bold.

What’s that rising over the tent?
It’s just a piece of cloth
that dares the coward relent.

What’s that flying across a field?
It’s just a piece of cloth
that will outlive the blood you bleed.

How can I possess such a cloth?
Just ask for a flag my friend.
Then blind your conscience to the end.

From Half-Caste and Other Poems, John Agard 2004

  • They Tied Themselves in Knots
    They Tied Themselves in Knots
  • They Tied Themselves in Knots
    They Tied Themselves in Knots
  • They Tied Themselves in Knots - Detail
    They Tied Themselves in Knots - Detail
  • They Tied Themselves in Knots - Detail
    They Tied Themselves in Knots - Detail
  • They Tied Themselves in Knots - Detail
    They Tied Themselves in Knots - Detail
  • They Tied Themselves in Knots - Detail
    They Tied Themselves in Knots - Detail

Red Flags

red-flag verb
transitive verb 

: to identify or draw attention to (a problem or issue to be dealt with)
: something that indicates or draws attention to a problem, danger, or irregularity
: a warning signal or sign


What is a flag? Is it an object? An item made with fabric and affixed to a rigid piece of wood stabbed into the ground. Something to be shifted and eventually tattered by the striking force of the wind and elements over time.  

Is a flag a warning? Is it the opening shot in the fight for a space does not belong to you. Is it a tool of suppression? A pinpoint on a distant hill, always claiming.

Is a flag a nation? The manifestation of patriotism in its purest form... an assertion of one's sovereign right to freedom. But whose freedom's does a flag protect? 

  • Red Flag
    Red Flag

    Mixed Media Painting on Paper, 2023, 9in x 11in

  • Red Flags Wave
    Red Flags Wave
  • Red Flag on the Ground
    Red Flag on the Ground
  • Red Flag is White
    Red Flag is White
  • Red Flag Broken
    Red Flag Broken
  • Red Flag Left
    Red Flag Left
  • Red Flag Warning
    Red Flag Warning
  • Big Red Flag
    Big Red Flag
  • Red Flag Erased
    Red Flag Erased

Drawing Connections/Corrections

Drawing Connections considers how we chronicle history, and how we go on to tell those stories generation to generation.

These retellings of moments in our histories inform the foundation of how we understand who we are, our relationship each other, the nation, and the world. The visual articulation of a timeline is a powerful thing. It lets us envision our own ability to make the future through our viewing of the past... but at what cost.

Art History is an action.

As an action, it can provide both reward and consequence... and in doing so speak to power… all the while ensuring a narrative that benefits those who wield such power, allowing them to continue to hold on to it.

  • Drawing Connections - Colonial Power
    Drawing Connections - Colonial Power
  • Drawing Connections - Power of Progress
    Drawing Connections - Power of Progress
  • Drawing Connections - Imperial Power
    Drawing Connections - Imperial Power
  • Drawing Connections - Power of Violence
    Drawing Connections - Power of Violence
  • Drawing Connections - Power of the Gaze
    Drawing Connections - Power of the Gaze
  • Drawing Connections - Power of Myth
    Drawing Connections - Power of Myth
  • Those Connections...
    Those Connections...

The Histories We Make

People are trapped in history and history is trapped in them - James Baldwin


This series of mixed-media monotype prints explore the tacit connections between Western Art History and American History, and how these thin threads of information and image inform US identity. 

Using collage, printmaking, and painting questions emerge that examine how these stories and images affirm mythologized heroism, colonialist narratives, and conceptions of whiteness?

How do purposeful ommissions of shared stories in the Western Historical canon lead to insurrection?

Can a painting of a founding father start a riot?
  • The Histories We Make - Two Patriots?
    The Histories We Make - Two Patriots?
  • The Histories We Make - A Red Flag
    The Histories We Make - A Red Flag
  • The Histories We Make - White Out
    The Histories We Make - White Out
  • The Histories We Make - Power Makes... Something
    The Histories We Make - Power Makes... Something
  • The Histories We Make - Oh Beautiful
    The Histories We Make - Oh Beautiful
  • The Histories We Make - Join or Die
    The Histories We Make - Join or Die
  • The Histories We Make - Look What You Made Me Do
    The Histories We Make - Look What You Made Me Do
  • The Histories We Make - Inquiry at the Capital
    The Histories We Make - Inquiry at the Capital
  • The Histories We Make - Raise the Flag
    The Histories We Make - Raise the Flag
  • The Histories We Make - Pledge to the Canon
    The Histories We Make - Pledge to the Canon

Frontline Histories

In this time of pandemic, we have seen what it means for people to rise in to roles of leadership.  

…Not the kind of leadership that is about supervision, or power, or even some idea of success. But rather, a form of leadership that is about taking on the responsibility to care for another person. The kind of leadership that centers the humanity that we all share, and that reveals the better angels of our nature.  

Frontline workers, nursing home workers, hospital cafeteria staff, cleaning crews, and more. They come to work everyday, at great personal risk to themselves in this current moment, because they know, this is what needs to happen... they are saving peoples lives. Not just through infection control, not just from contracting Covid-19, but from the isolation that takes hold as we stay separate, to stay safe.  

Leadership isn't the grand gesture. It abounds in the moments of quiet compassion. It manifests even when you feel the existential fear of not knowing what the future will bring. I see this leadership in the countenance of my coworkers. I hear it in the voices of my sisters and brother.    

They… are leaders.

  • This Is My Calling
    This Is My Calling
    Acrylic on Paper and Panel with Ink, Graphite, and Colored Pencil, 2021 Bibliography - People Are Dying - New York Times - Dr. Colleen Smith (3/26/2020) The Reality is Incredibly Hard - The Atlantic - Bryce Covert (4/14/2020) Health Care Workers Don't was to be Heroes - Scientific America - Daniel Barron (6/21/2020) - - - - - - A Portrait of Certified Nursing Assistant, Maggie Kaltwasser - - - - - -
  • We Can Be Better Than We Have Ever Been
    We Can Be Better Than We Have Ever Been
    Acrylic on Paper and Panel with Ink, Graphite, and Colored Pencil, 2021 Bibliography - In the Time of Plague - N. Scott Momaday Growing Old, Alone - Annie Lowrey - The Atlantic (1/2/2021
  • To Hold To Hold To Hold
    To Hold To Hold To Hold
    Acrylic on Paper and Panel with Ink, Graphite, and Colored Pencil, Bibliography - Mighty Die Young - Joy Oladokun A Happy Thought - Franz Wright - 2006
  • I Have Been to Forever
    I Have Been to Forever
    Acrylic on Paper and Panel with Ink, Graphite, and Colored Pencil, Bibliography - Look Up - Joy Oladokun A Happy Thought - Franz Wright - 2006
  • Deaths Dallas 3,301
    Deaths Dallas 3,301
    Acrylic on Paper and Panel with Ink, Graphite, and Colored Pencil, Bibliography - Away Down the River - Alison Krauss State Covid-19 Data for Texas (2/23/2021) Obituary for Col. Dearl F. Jones

Re/Write

What does work toward an equitable practice of education look like? How does the action of this work manifest in real time? For me, the work needed to change the future of education starts in the examination of histories untold, and the collective labor of all folks working to understand those histories. It also taking an active role to make sure the documentation of today reflects the accurate accounts of events in real time. Histories should be shared, and not the singular narrative of the oppressor. 
  • Re/Write
    Re/Write
    Acrylic, Ink, and Pencil on Wood, 2020
  • Re/Write Detail - 1
    Re/Write Detail - 1
    Acrylic, Ink, and Pencil on Wood, 2020
  • Re/Write Detail - 2
    Re/Write Detail - 2
    Acrylic, Ink, and Pencil on Wood, 2020
  • Re/Write Detail - 3
    Re/Write Detail - 3
    Acrylic, Ink, and Pencil on Wood, 2020

The Myth - Painted Installation

The Myth is a painted installation consisting of 40 paintings, created in 40 days. Each panel is 12in x 15in and contains various scribbles and notes along with a depiction of one letter. The total scale of thw work is about 12ft x 5ft, and spells out the following: THE MYTH OF OUR GREATNESS WILL BE OUR DOWNFALL.

  • The Myth
    The Myth
    40 Paintings, Acrylic and Ink on Canvas paper, 2020
  • They Myth - G
    They Myth - G
    Acrylic, Ink, and Graphite on Canvas paper
  • The Myth - R
    The Myth - R
    Acrylic, Ink, and Graphite on Canvas paper
  • The Myth - E
    The Myth - E
    Acrylic, Ink, and Graphite on Canvas paper
  • The Myth - A
    The Myth - A
    Acrylic, Ink, and Graphite on Canvas paper
  • The Myth - T
    The Myth - T
    Acrylic, Ink, and Graphite on Canvas paper
  • The Myth - N
    The Myth - N
    Acrylic, Ink, and Graphite on Canvas paper
  • The Myth - E
    The Myth - E
    Acrylic, Ink, and Graphite on Canvas paper
  • They Myth - S
    They Myth - S
    Acrylic, Ink, and Graphite on Canvas paper
  • The Myth - S
    The Myth - S
    Acrylic, Ink, and Graphite on Canvas paper

Warnings

The project, Warnings, explores the relationship between history, the influence of tyranny, and the role of complacency in not seeing/identifying the warning signs of  such rhetoric's influence young minds.

Desk panels are adorned with illustrations and graffiti one would typically find on well-used school furniture. Each desk also contains a lined notebook paper of varying quality and functionality, as well as a pencil in a various state of use. As the panels progress, the desks become more damaged, and the paper and pencil become increasingly more limitied in their function.

Each paper contains repeated lines from a poem by Stephen Dobyns, Toward Som Bright Moment.
Each desk includes both random drawings as well as lines from On Tyranny by Timothy Snyder.  
  • Warnings Installation
    Warnings Installation
    Large Scale Installation - Mixed Media
  • Warnings I
    Warnings I
    Acrylic and Ink on Black paper, Wood, pencil, masking tape, penci, 2019
  • Warnings II
    Warnings II
    Acrylic and Ink on Black paper, Wood, pencil, masking tape, penci, 2019
  • Warnings III
    Warnings III
    Acrylic and Ink on Black paper, Wood, pencil, masking tape, penci, 2019
  • Warnings IV
    Warnings IV
    Acrylic and Ink on Black paper, Wood, pencil, masking tape, penci, 2019
  • Warnings V
    Warnings V
    Acrylic and Ink on Black paper, Wood, pencil, masking tape, penci, 2019