Sarah Carne’s practice employs a wide range of forms including video, intervention, performance, drawing and artist books. An ongoing focus of her work is concerned with ideas around status and value, explored through inheritance, gender and age.
This is currently manifested in I Love my Yugo, a long-term project instigated by the inheritance of an internationally maligned car. A limited edition book charts the road trip taken to former Yugoslavia where the cars were initially produced. The book is on one level lighthearted and anecdotal, it also, however, poses a set of serious questions about how we relate to and anthropomorphise objects in our consumer society and how their value is determined by social and cultural values that are often fragile and always shifting.
Sitting alongside is I-Spy Yugo, a series of interventions in I-Spy spotters’ guides. The books original function becomes dismantled as the artist explores her investment in her subjectivity and imposes the monocultural system it engenders.
Extending this project is Line Drawing, an attempt to exhibit 65 drawings of a scale model Yugo 45 car in geographically specific galleries worldwide. When the exhibiting venues are connected via a virtual dot-to-dot line the phrase ‘I love my Yugo’ will be spelt out, across both hemispheres. An artist book is currently in production to capture and explore this process.
In 2013 Carne produced It all started when the days seemed quite plain. Whilst not sitting within the realm of artists books it came directly out of her previous thinking about the status of the object and the producer, and the associated values that shift depending on context. It explores how artists continue to engage with and develop their own practice whilst also engaged in work for which they are not directly employed as an artist. Taking the I-Spy interventions as inspiration the book reveals new artworks made, in secret, in the workplace, alongside essays that consider notions of status around employment and practice.