Some background information.

Sarah Langstone who first studied Fine Art, Theatre design and Photography at West Kent College, Tonbridge and then Spatial Design at Kent Institute of Design, Rochester, left college in 1990 at the peak of the recession and took on a vast range of mediocre jobs ranging from bar work to selling concrete block paving.

Sarah married fellow KIAD student, modelmaker Paul Higgins in 1992 and pursued her writing ambitions with some success, while still keeping up with the occasional artistic commisssion. She produced design work for an oil company and various artworks for restaurants, ranging from murals to caricatures of the staff.

After becoming a parent in 1997, Sarah also managed to find time to design the covers and produce the internal illustrations for a few books (children's novels and a gay-themed short story book) for a UK publisher.

In 2005 in conjunction with her youngest child starting full-time school, Sarah finally realised that she does not have to 'choose' between being a writer and being an artist. She decided to go all out to do both and in 2006 she joined the New Art Centre, Chatham as one of their studio artists.

Sarah has since exhibited her work in Chatham and Whitstable and been part of a collaborative project among Medway artists which resulted in a book called 'A Medway Sanctuary' published by Urban Fox Press. Her portrait of Mark Billingham was chosen as the master image for a digital mosaic project by Gary Weston and this mosaic and some of Sarah's other portraits were among the images projected onto Rochester Castle as part of Medway's Cultural Olympiad.

Portraiture and figurative work are her speciality and she has sold many portraits both in the U.K. and abroad - leading to a necessary move into a larger studio in 2009 - but Sarah will follow a whim to wherever it takes her. Recent experimental landscape and abstract paintings have also met with success and have a broader appeal but painting people will always be Sarah's first love. "For me, the essence of painting a good portrait is not merely acheiving a likeness; it is creating an image that tells more about the sitter than a photograph."