“The present revival of performance art such as Sarah Cameron Sunde’s, crossing and blurring the boundaries as it does between theater and visual art, in or outside of the white cube or black box, could be an answer to a call for more empathy in the world, by the living and lifeless (actors, Bruno Latour calls them) alike.” – The Brooklyn Rail, July 2015, Nils van Beek
Sarah Cameron Sunde (b. 1977) is a New York-based director and interdisciplinary artist. Sunde works at the intersection of performance, video, and public art. She believes in collaboration across disciplines, juxtaposing seemingly disparate materials, and letting narrative emerge. Her work is an intimate encounter with our ephemeral nature, a fine line between complete abandon and utter control – action and stillness. She creates interactive moments and situations that strive to stimulate dialogue between strangers and open new possibilities between the everyday and the existential.
Her ongoing public art project, 36.5 / a durational performance with the sea, has been performed and exhibited in Bass Harbor, ME (2013); Akumal Bay, Mexico (2014); San Francisco Bay, CA (2014); North Sea, Netherlands (2015), and Bay of Bengal, Bangladesh (2017) with partners Long Now Foundation, TAAK, de Appel, Oude Kerk, and Britto Arts Trust. Other work includes video-based public art installation Across an Empty Lot: a temporary memorial to the empty space, Harlem, NY (2016); Off-Broadway productions of A Summer Day, The Cherry Lane Theater, New York, NY (2012); and The Diary of a Teenage Girl, 3LD Art & Technology Center, New York, NY (2010).
Her residencies and awards include Artist-in-Residence, Satellietgroep, The Hague, Netherlands (2015); Creative Climate Award, New York, NY (2015); and Artist-in-Residence, The Watermill Center, Water Mill, NY (2014). Sunde holds a B.A in Theater from UCLA and an M.F.A in Digital and Interdisciplinary Art Practice from City College of New York, CUNY.
Featured Image Photo Credit: Jonas de Witte
Lydian Junction’s Born for Nothing (2014). Photo Credit: Karla Carballar
Killing Time to Make Time. Still from video series (2015). Photo Credit: Courtesy of the Artist
Across an Empty Lot: a temporary memorial to the empty space. Public video installation (2016). Photo Credit: Manny Tejeda
36.5 / a durational performance with the sea (2015). Photo Credit: Jonas de Witte