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about :

"In the same way senses interweave, the auditory and visual impression in the work feed one another and transform,
causing our perception to become altered..."
                                    - Claire Needham, catalogue essay for 'Four walls of solitude', Out of Site, 2011 (CAT)

"Sara Maher's art is such a distinctly visual phenomenon that it in many ways resists explication since it exists most intensely and most completely as pure phenomena...Somehow this work is about sublimation of self on one level but curiously about deep penetration of self on another...Maher's process seeks equivalence with felt sensed-based experience and the states of mind which are instigated or engendered by those sensory experiences..."
                                     - Sean Kelly, catalogue essay, Inland: Memories of space, 2011 (LARQ, 146 Arts Tasmania)

"Maher sometimes uses sound within her exhibitions, these sound elements, created by Nigel Farley, help to associate the visual works to the experience of vastness....[which] provides a context in which sound in the landscape played an experiential part in the work's origins... there is a strong relationship between the sound and the artworks which work in a similar way at the border of consciousness and intuition."
                                    - Sean Kelly, catalogue essay, Inland: Memories of space, 2011 (LARQ, 146 Arts Tasmania)

"Four large works on paper represent the four walls of a colonial solitary confinement cell - no light - no sound....Given time these walls close in and the sensation of suffocating confinement is palpable. It is a place you want to get away from but the terrible beauty of the imagery keeps one in hesitant suspension - a state of mind, a place of punishment. The textured soundscape hums from above, intensifying the disturbance, grounding the sense of solitary monotony."
                                   - Les Allester, Review excerpt, Four walls of solitude (Out of Site) 2011 (CAT)

"Sara Maher and Nigel Farley's delicate sound-augmented installation, 'Where the Shadow falls', marks the intervening years with the effect of the damp conditions on the fabric of the old houses - the shadows literally flaking, dissolving, falling - accentuating the unrelenting and yet strangely beautiful process of decay."
                                   - Jane Deeth, Review excerpt, 'Working Water: Making Home', Artlink Magazine, March 2015