A headshot of Sarah Louise Wilson.

Art by Sarah Louise Wilson: An Interview

Sarah Louise Wilson is an artist based in California. She writes, directs, produces, paints, and acts. Her courage puts her on an edge that cannot be fabricated; rather, it comes as a natural part of who she is and what she stands for.

In 2010, with her company Stella Bella Productions, she penned and starred in her pseudo-autobiographical romantic comedy “Jelly,” starring Natasha Lyonne (Orange Is the New Black) and Hollywood icon Ed McMahon. The script alone attracted name talent and funded the film into release. After screening in competition at several renowned film festivals, the film went on to win four Accolade awards and is represented by Cinetic Media. It has since been released on Netflix, Fancast, Hulu, PBS, and The Sundance Channel.

Throughout her career, Sarah wrote and directed short films, plays, music videos, documentaries— Anything she could get her hand on. In early 2016, when Sarah was living in Almaty, Kazakhstan, she shot her feature film No Exit entirely on location. The movie went on to win multiple awards and was written up by Esquire, Good Housekeeping, and Variety. To learn more, visit her website.

We’re also very excited to share an interview that dives deeper into Sarah Louise Wilson’s art. This interview was conducted via email by our Art Editor, Khanh Nguyen.

Khanh Nguyen: What is the difference between how you tell a story in your paintings versus in your films? 

Sarah Louise Wilson: In films, you have millions of pictures to tell a story but in painting, you only have one. 

KN: What kinds of stories do you like to tell? What is the importance of telling those stories?

SLW: I like to tell stories about hope because the world is bleak enough. 

KN: How has painting influenced your film-making and vice versa?

SLW: Painting teaches me to be visually concise in filmmaking. Filmmaking helps me to understand light. 

KN: Some of your work, like “She is Palestine,” features subjects outside of the United States. You also worked in Kazakhstan for a while and held an exhibition there in 2015. What interests you and inspires you about non-American subjects?

SLW: I’m interested in understanding the human condition as much as possible. 

KN: Much of your art focuses on honoring past and current African American icons and social justice leaders. What does this work mean to you personally, and how do you think this work affects the fight for social justice?

SLW: Some of my work, as of late, does honor past and current African American icons because I find their point of view to be exciting and enlightening. I do not think my work alone affects the fight for social justice. I believe the collective work of artists expressing like-minded issues that need a spotlight, can affect the fight for social justice. 

KN: What does your work space look like?

SLW: Messy when working. Clean when not because I like to make a mess. 

A headshot of Jenny Wu

Meet the Art Contributors for Issue 30

In just two days, Issue 30 of Superstition Review will launch! On Dec. 1st, readers will have access to paintings, photography, and more—all created by five talented artists: Corey S. Pressman, Jenny Wu, RAEchel Running, Shirin Mellat Gohar, and Valyntina Grenier. Read about all of them below!

Corey S. Pressman is an artist, writer, and teacher living in the Pacific Northwest. His art is shown around the country and has won several awards. He has published academic works as well as short stories and poetry in both journals and book collections including Gastronomica, the Clackamas Literary Review, Lucky Jefferson Magazine, and Arizona State University Press.

Jenny Wu is an artist and educator. She is a visiting assistant professor at Trinity College in Hartford, CT. Wu’s work acknowledges the sensational and perceptual properties of materiality and then transforms the materials from their original forms and purpose to present them within new contexts. Her work has been exhibited in galleries and museums including Denise Bibro Fine Art, Katzen Museum, Huntington Museum of Art, Vilnius Academy of Arts in Lithuania, and CICA Museum in South Korea. Jenny Wu was born in Nanjing, China. She holds a B.A. from William Smith College, and an M.F.A. from American University.

RAEchel Running (She/Her) is a visual storyteller, creating multi-media images that explore and champion restorative relationships of the diverse cultures connected to these beautiful, tragic and mystical histories of the Americas. Born in Flagstaff, AZ, of Trinidadian (Chinese and Afro Caribbean) American (French Canadian and Swedish) She hangs her hat in Bisbee, AZ. Her current work cross-pollinates a documentarian’s eye with handmade and digital photo illustrations, mixing the interspace between reality and dream. Internationally published, she enjoys fostering visual literacy and planet stewardship to inspire and enrich restorative relationships within communities for upcoming generations.

Shirin Mellat Gohar is a visual artist based in Tehran, Iran. She received her BFA from the Tehran University of Art. Her work has been included in numerous exhibitions, nationally and internationally, such as Sugar Gallery, USA; Naregatsi Gallery, Armenia; as well as Aaran Gallery, Homa Gallery, First Painting Symposium in Museum of Qasr, and First Drawing Biennial in Iran. Shirin, with a hybrid national identity (Iranian-Iraqi), grew up within Iranian society during Iran-Iraq the war. Working primarily with painting and drawing, she addresses her dual identity through employing domestic crafts, which she learned from her mother at a very young age.

Valyntina Grenier is a multi-genre eco artist living with her wife in Tucson, AZ. She works with paint, ink, neon, encaustic medium, recycled or repurposed materials and words. She is the author of two poetry chapbooks, Fever Dream/ Take Heart (Cathexis Northwest Press 2020) and In Our Now (Finishing Line Press 2022). You’ll find her work in, Impermanent Earth, The Impossible Beast, The Journal, Lana Turner, The Night Heron Barks, Querencia, Ran Off With the Star Bassoon, Sunspot, and The Wardrobe. Find her at valyntinagrenier.com or Insta @valyntinagrenier.

Art Submissions Open Now

Art submissions for Superstition Review are now open until January 31.

Send us your art submissions! We’d love to see them!

If you’re thinking about submitting, hear what our past Art Editors have to say about submissions to learn more about the art we feature on SR.

“I began viewing our submissions, and I was astounded by the elevated level of craftsmanship I saw in many of the pieces. We had everything: vibrant colors, text+art, and haunting photographs that sent shivers up my spine. After some time, a lot of thinking, and quite a few discussions with Founding Editor Patrica Murphy and Art Faculty Advisor Rebecca Fish Ewan, I came to realize that for this issue, we wanted work that challenged the norms, celebrated diversity, and demanded our attention.” – Anna Campbell, Issue 26

“Kat Babbie’s four textile works are beautiful and dynamic. Her work is also featured on the cover. Carolina Dutca and Valentin Sidorenko’s five photos also include delightful textile elements and beautiful photography.  Takashi Ari’s haunting photographs of Hiroshima that explore the complicated interconnectedness of subjects in Hiroshima, Nagasaki, and Fukushima. To round out the photography, Ashley Miller’s surreal photographs explore themes of consumption. We are also lucky to feature Ali Liebegott’s three wonderful paintings, which explore themes of queerness, food, and domestic spaces.” – Isabelle Kinney, Issue 27

“…As I considered the submissions for art, I thought not only about the stories they told to me, but also what stories they might tell to others, and what stories their creators wanted to tell. And what diverse, thought-provoking stories they told!” Khanh Ngyuen, Issue 28

Does your art challenge norms, tell stories, and demand attention? Don’t miss this opportunity!

Submit your artwork for a chance to be featured in Issue 29 here.