Hi there, I'm Sabra Field. If you've just come across my prints on the web I'd love to tell you a little about myself.

	Middlebury College Bicentennial View

      I like to say I was born in the tiny building at the lower right of this print of the campus at Middlebury College. Well, not REALLY. But it was here in the 1950s, in Joe Ablow's Renaissance Art course, that I first saw Piero della Francesca's "Flagellation" and understood that great art is composed from what we see but it is not a replica of what we see.

	Flagellation

      My next epiphany was in the art library at Wesleyan University where I discovered "The Language of Vision" by Gyorgy Kepes who understood the interrelatedness of visual phenomena in all places and at all scales, who saw meaning and beauty in the humble bubble pattern.

	Bubble Pattern

      And it was at Wesleyan's Print Laboratory that Butch Limbach turned me on to the ancient technology of woodblock. I've never fallen out of love with my medium, only added to it the new technology of Iris ink jet to which I've been fortunate to gain access by living long enough.

      But why did on earth I become a professional artist? Arthur K.D. Healy, the watercolorist on the Middle bury faculty made it seem like a noble calling. No one said I couldn't and I was too naive to realize the odds. But mostly I wanted to spend all my time making images and I was willing to take the risk. I felt, in a sense, that I had no choice. I couldn't be happy otherwise.

Untitled Self Portrait

      My life as a pro didn't really begin until I moved to an old tavern in a tiny village in Vermont in 1967, part of a migration away from city and suburb by lots of independent creative types. Vermont was beautiful and Vermonters unpretentious, generous, and understood "home occupation" so I was free to be me.

	Village Pond

      I don't need to tell you how little money I made those first years, or how many teaching gigs I did or how many craft fairs . One way or other I learned to balance the imagery that I could depend on with the more

	Art of Place

cerebral subjects that haunted me. You can read Tom Slayton's excellent book "Sabra Field, The Art of Place" and my own visual autobiography "In Sight". to see how the journey progressed.

     

	In Sight

The best thing that happened in the early years in Vermont was meeting my husband Spencer, a wild life artist. Gradually he became our business manager and has made my productive life double what it would have otherwise been. One of my joys is collaborating with him occasionally.

	Snow Geese

      The career highs that sustain me are not glamorous by the standards of the wider world but they confirm that I made the right decision and that this wonderful place is home . You can read about the awards, commissions, honorary Ph.D., inclusion in international exhibitions, and my Italian printmaking workshop at Spannocchia near Siena in my curriculum

	Il Trattore

vitae. Most important for the long term is "The "Sabra Field Collection" at the Middle bury College Museum of Art. There, one of each print I have made has a permanent home. There has been one retrospective already and perhaps more exhibitions to come.

	Woman Rising

      I've reached the time of life artists dream of: a few commissions, sales of reproduction rights, a lot of time to think and dream and invent new images while I still have the strength and energy to make them come true.

	Going Home

      I hope you will find an image that speaks to you, that you will commit to it and live with it so that we may share that special relationship between artist and collector: I make it but you SEE it!