Gloss and Grit – Sara Pope on Art, Beauty, and Perfection

Capturing the power of self-expression in a polished, digital era

Sara Pope shares insights into her art inspired by fashion and digital culture, detailing her process and exploring the emotional, communicative power of her iconic glossy lip portraits.

Sara Pope is a rare talent who captures the essence of beauty and power with striking clarity. Renowned for her glossy, expressive lip portraits, she blends the worlds of fine art and commercial aesthetics to create works that are visually arresting and deeply resonant. With roots in fashion design and magazine aesthetics, Pope’s art explores the allure of perfection in today’s visual culture, using vibrant colours and seamless compositions to reflect society’s fascination with the idealized image. Yet beneath this glossy surface lies a profound exploration of self-expression and emotion, focused on the mouth—a subject Pope considers vital for its role in communication, identity, and human connection. Her work has not only been exhibited in prestigious spaces like the Saatchi Gallery and the Vatican but also resonates globally, embodying the mouth’s symbolic and sensual power.

For WOWwArt Magazine, Pope opens up about her evolution from fashion studios to fine art, sharing how her unique background shapes her creative process. She details everything from her meticulous painting techniques, which achieve her signature gloss, to the balance of personal expression and commercial appeal. This exclusive interview offers an in-depth look into the artistic philosophy of Sara Pope, an artist who skilfully fuses contemporary aesthetics with timeless themes, crafting works that are as emotionally impactful as they are visually striking.

Sara Pope’s bold, mesmerizing art celebrates beauty, communication, and self-expression, cementing her place among today’s most innovative contemporary artists.

How does your background in fashion and magazine design influence the themes and aesthetic choices in your art?

My background in fashion and magazines informs both the themes and aesthetic of my work. I’m fascinated by how we decorate and express ourselves through colour, makeup, clothing, body modification and jewellery – each choice speaks volumes about our personalities, social groups, and even our emotions. Makeup, in particular, plays an essential role in my artistic process.

I’m also drawn to exploring the evolving aesthetics of our visual culture. We’re in an era where the images we’re surrounded by are increasingly smooth, ageless, and seductive, my background in fashion and magazines has heightened my awareness of this shift, particularly with the more recent influence of social/digital media. My glossy, hyper-polished lip portraits reflect this contemporary visual landscape, blending individual expression with the allure of perfection – which permeates today’s digital world.

Can you walk us through the process of transforming the mouth of your subjects into a vibrant, glossy, lips painting?

The starting point to my painting process is a makeup brush, lipstick and a camera. I paint my subjects’ lips, and then, using specific techniques of makeup and lighting to highlight the three-dimensionality of the mouth, I begin the process of capturing my subjects’ unique expressions through an extensive photographic study. The shots provide the foundation from which I draw inspiration to start my painting. The painting process itself involves several layers of oil-diluted paint being overlaid, blending and smoothing the colours extensively at every stage, and sometimes also mixing lipstick into the paint. Emulating the stylistic slickness of advertising, the result is glossy and perfect.

What is it about the lips and mouth that you find compelling as subjects, and how do they communicate beauty and power in your work?

The mouth is a subject I find deeply fascinating for its fundamental role in the human experience. Beyond the essential functions of breathing and nourishment, the mouth is key to communication – both verbal and non-verbal. We’re instinctively drawn to the mouth, its subtle cues, movements, and expressions communicating a wealth of information, creating a feeling of shared understanding and connection. Physical interaction in the form of kissing adds yet another layer to its significance. I believe the mouth’s beauty lies in its power to communicate and connect, which is what I aim to capture in my work.

Your work has been displayed at prestigious venues, including the Saatchi Gallery and the Vatican. How has this exposure impacted your career and creative direction?

Exhibiting at venues like the Saatchi Gallery and the Vatican is incredibly affirming; it shows a level of interest and respect for my work, which is rewarding. However, this kind of exposure doesn’t necessarily influence my creative direction. My ideas are driven more by an intuitive, internal process rather than external validation, so while the recognition is gratifying, it doesn’t alter the essence of my creative path.

How do you approach the challenge of achieving “perfection” in your paintings?

‘Perfection’ could mean many things, but in the context of the aesthetic of my work, to me, it means that the painting reaches a point where the brush strokes can no longer be seen, where the artwork transcends being a physical ‘painting’ and could be mistaken for a digitally created image. To achieve this I mix oil paint with medium, creating a smooth, slick texture, which I then apply with extremely soft brushes (sometimes makeup brushes), using delicate brushstrokes to perfectly blend the colours. Each new layer builds intensity, uniformity, and depth, erasing any visible strokes to achieve a glossy, flawless finish.

In blending the worlds of fine art and commercial aesthetics, how do you navigate the balance between personal expression and the commercial appeal of your work?

Personal expression lies in portraying my subjects’ essence, intertwined with my own perspective. If the artwork resonates with viewers and creates a sense of connection, I consider that a success, as it fulfils my aim of communication. The commercial appeal, then, is a natural extension of this, as engaging others in the artwork gives it a broader, relatable quality. So, the commercial and expressive elements are not mutually exclusive; they’re part of the same exploration.

EDITOR’S HIGHLIGHTS