Excerpts from Critics

"For seven years the artist has created paintings with a tremendous amount of visual data. At first she called them "White Noise." Now, in an overwhelming exhibition at the Roy Boyd Gallery, they have become a "Blindsighted" series. But the titles make no difference. The operative principle still is: More is more. And these pieces exceed in elaborateness even the complex tactility the work had in 2005.

Often working within the stability of a square format further stabilized by a grid, Krepp then covers passages from scientific charts, maps, musical scores and dance diagrams with tubes wrapped with thread, game board pieces and sprays of tire rubber. The sprigs, which burst from the surface, occasionally are balanced by holes that burrow into it. The entire surface may also sprout "hairs" that bristle one by one and create waves when seen together.

A group of works on paper present a single sprig elaborated by drawing on each sheet. They are like letters from some unruly, indecipherable alphabet. Krepp has created, after all, a kind of alternative language from bits of communicative systems. Smaller works here seem to (but do not actually) present individual components. Either way, the results are optically thrilling."

The Alan Artner review: Chicago Tribune (March 13, 2009)

"... For the second year in a row, for example, I found myself sucked into the gravitational field of the busy, information-packed yet oddly unified work of painter Sarah Krepp, whose latest pieces, in the Roy Boyd Gallery booth at Art Chicago, featured three-dimensional protrusions from their surfaces. At once cerebral and sensual, her work envelops you in an intoxicating world of portent and color -- often a rich, vaguely sinister mix of red and black -- and makes you wonder why she isn't world-famous. She should be."

Kevin Nance, "Just Like the Good Old Days", Showcase (photo), Chicago Sun- Times (May 1, 2007)

" SARAH KREPP creates work that presents a tremendous amount of data that comes from such sources as scientific charts, maps, music, and even dance diagrams. Sorting everything out makes significant demands on a viewer. The optical pleasure is, however, equally significant. And while this kind of content, with its metaphorical warning of engulfment, is satisfactorily conveyed, it seems more peripheral than essential."

Alan Artner, Chicago Tribune