Sarah Oates is a photographer based in Glasgow who works primarily with analogue processes including 35mm film, medium format, and historic techniques such as wet plate collodion. Drawn to the slow, hands-on nature of film photography, Sarah explores the emotional tone of a scene through light, texture, and colour. Her images often feature reflections, soft focus, long exposures, and a sense of pause, inviting the viewer to look a little longer. She has exhibited in group shows across the UK and continues to build her practice through personal projects, zine contributions, and ongoing experimentation with traditional photographic methods.

See Sarah’s work as part of our annual Summer open call, Something in the Mirage, which runs July 17th to August 8th, featuring an incredible collection of works by twenty nine artists inspired by the dreamlike shimmering of summer sunshine, heat hazes, lingering afterimages, or maybe the momentary glint of something half-seen and half-imagined in the dappled golden light.

Thanks for being with us, Sarah. Can you tell us how your artistic journey started?
I first got into photography in my twenties and I loved experimenting with light and composition. But life got in the way, and I fell out of the habit for a long time. Over the past year, I’ve returned to it with more focus working mostly with analogue processes. Photography has become a really important creative counterbalance to my day job as a data analyst.

How did you arrive at the theme of your work?
The pieces in this exhibition were made during quiet walks where I was drawn to moments of stillness, like reflections in water or a bird crossing a path. I didn’t start with a specific theme, but both images have a calm, observational quality. They reflect the mood I was in at the time: present, but slightly detached. When I saw the open call these images immediately came to mind as they both contain subtle distortions that felt in keeping with the theme.

Can you walk us through your creative process?
I mostly shoot on 35mm or medium format film, which means everything slows down. I don’t take loads of photos. I usually carry a camera when I go walking and wait until something grabs me. With wet plate collodion, which I’ve been using more recently, the process is more hands-on. You have to pour and develop the plate right after shooting, so it becomes this immersive, messy, and beautiful process.

What emotions or reactions do you hope viewers experience when they see your artwork?
I hope there’s a sense of pause, like the viewer is being invited to step into a moment and sit with it. Some of my work leans toward calm or introspective feelings, but I’m also interested in discomfort and the tension between beauty and unease. I want people to feel something, even if they’re not quite sure what it is.

Which artists inspire you? Are there non-artistic influences such as literature or music that impact your work?
Francesca Woodman’s work had a big impact on me. Her use of blur, movement, and space really resonates. I also love horror and surrealist cinema. Directors like David Lynch and David Cronenberg influence how I think about the body, emotion, and the uncanny. That sense of unease shows up more in my more personal work.

Will your next project be a continuation of your current style or are you experimenting with something different?
The work in this exhibition is more subtle and reflective, but my current project is a little darker. I’m exploring fear as a theme using wet plate collodion, which suits the mood. The process is unpredictable and a bit chaotic, which mirrors the emotional content.

Find out more about Sarah’s work on her website or Instagram. Something in the Mirage runs at Six Foot Gallery until Friday 8th August 2025.