Sarah Cain's "Tell the Poets" transforms space and emotion at Honor Fraser Gallery
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Sarah Cain's "Tell the Poets" transforms space and emotion at Honor Fraser Gallery
Sarah Cain, contact high, 2025 86 x 66 inches.



LOS ANGELES, CA.- Honor Fraser is presenting, Tell the Poets, a solo exhibition by Los Angeles-based artist Sarah Cain. Cain’s striking compositions cross dimensions, rainbowing across doors and walls, canvases and currency with a gestural index—the intuitive records of an artist tied to the shifting rhythm of our precarious present.

Here, Cain continues to bend a spirited abstraction, summoning an architecture for transformative, embodied, emotive experience. The exhibition forwards her exploration of painting as an expansive practice, one that grew from illicit interventions in abandoned buildings to intimate encounters and grand gestures in both museums and vast public projects. As curator Jamillah James recently wrote, “At their very core, Cain’s abstract paintings are radical and disorienting in the best possible way. Her attack and command of both physical and pictorial space is incisive yet wildly generous, leaving the viewer with no singular place to stand or look.” Throughout the exhibition, Cain devilishly calls upon personal anecdotes to conjure a range of sociopolitical subjects from the unapologetically feminist to the everyday esoteric. As a result, her paintings function as mirrors, reflecting back lived experiences with heightened intensity. A barrage of joys and fears, philosophies and hopes, Cain’s artwork invites us to see and more deeply, drawing attention to the subtle and enchanted ways we witness the world.

The exhibition moves from a large scale work-on-site filling our largest gallery to an ephemeral mobile of painted dollar bills waving from the ceiling. These $talismans began as a gesture during the 2008 economic collapse as a way to will financial well-being to those around her. Through their continual creation, the series functions akin to a wishing well, a form of focusing care and intention, a prayer for better days. In the final gallery, new works on canvas, beam Cain’s particular poetry, not entirely contained by its stretch bars. The title comes from Cain’s long friendships with writers and poets, if one wants anything to be known (gossip, heartbreak, news of any kind), one should always tell the poets.










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