OPENSALA

Born in the spring of 1936 in Rural Iowa, Wilfred Sarr was profoundly blessed by an aware, loving mother. He was left handed and she would permit no changing that, and much else. In kindergarten he was already showing a knowledge of perspective .All through conventional schooling and growing up, he had an itching burning desire to draw, to paint but was prevented by nagging realities. Art was always there on the back burner under heat . He thought he had something, a certain self-refreshment that was unique to him. Perhaps there was something he says, but an inappreciative kid could only get puffed-up.

This arrogant bantam grew up with some scars inside and out fortunately, he had enough obvious flaws so, friends and family kept him in line. Too cool for school, he could not listen to anyone; of courses he did fall into the usual hypnosis laid upon one in any culture and religion, he says it takes genuine arrogance to hang on to that something no one else recognizes. Of course he was loved and supported by doting friends so that arrogance continued and grew.

On the last day of September 1960, driving back to Neubrücke Germany from Barcelona, Wilfred Sarr had a long, drawn out, argumentative awakening; denying his dream was ended. He could be good only at what he wanted. It was perfectly clear forgetting medical study, he would sculpt and paint. What he actually wanted but could not focus on was freedom. Art was the only place he knew that felt like a way

In 1967 after many drawings and paintings, depicting man inhumanity, Wilfred had another passage for lack of a better term. He made a firm resolve: No more negativity in the works, he had to be toilet trained all over, again . After serious experimentation, during 5 – 6 years he finally squirted out of classic minimalism and put his feet down in impressionism . Wil says, the dance of impressionism, the nowness and the buzz can be a delight to both doer and seer.

From the seventies to the year 2000 Wilfred Sarr was experimenting with multiple subjects and modes simultaneously. He swayed from tightness required in the mandala to whimsy in the dancers. Portraits, landscapes, and all manner of standard studio works filled out his schedule. He can be called Prolific.

He is now living, working and exhibiting in northern California, with backing of some 50 years of copious work, we find Wilfred concentrating on portraits and plein aire, an experiment – offering for the new generation of impressionism.

We shall be adding a gallery of dancers. They kept popping up from time to time from the early Ninety Sixties. By 1975 they were undeniably competing with other subjects in the studio evolving from black and white to full color. They now hold a prominent place on his versatile offering plate.

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