Freak City Recovered, 2025.
Inkjet Print. 24in x 36in.

Part of the Bed Drawing Series. A large digital illustration composed of sticks, strings, and various assembled parts. The bottom edge of the image appears submerged underwater. Gravity feels present—objects show tension in how they are balanced, pulled, or suspended. Visible elements include barricades, a car bumper with a sticker that reads “prior authorizations should be illegal,” draped abstract fabric, a seat cushion, a diamond charm, holographic stickers, and a white flag waving in the wind. The overall composition feels haphazard and shifting, as if everything is barely holding on.







Sending Immense Love
During A Time Of Almost Impossibility, 2025.
PLA Filament. Dimensions Variable.

Two images from the show Design and Disability at the Victoria & Albert Museum, South Kensington. The left image is by Isobel Greenhalgh. An individual in a blue dress, blonde cropped hair and a pink cane is standing in front of the work Sending Immense Love During A Time Of Almost Impossibility. The wall is blue with several framed pieces showing a print with sign language and a drawing by Christine Sun Kim. Pink 3D printed letters, angled out from the wall on a platform so that the public can touch them. They are letters from the 504 Font, also designed by Emily Sara in 2023. On the right is another angle of the exhibition from a bit further back. The blue walls have multiple frames, banners and t-shirts—all from disabled artists and designers.







Sending Immense Love
During A Time Of Almost Impossibility, 2024.
Laser Print. 24in x 36in.

A black and white print featuring fragmented text reading “sending immense love during a time of almost impossibility,” alongside a broken border and an upside-down International Symbol of Access (ISA). The letters are deconstructed from the iconic wheelchair figure. The border repeats the same message in a caption-like strip.

+ Performance (2024 and ongoing). A poster created by Emily Sara, printed and distributed intermittently to various members of her community. It is given to individuals who have played a significant role in supporting Emily.







Delay, 2023.
Inkjet Print. 24in x 36in.

Part of the Bed Drawing Series. A digital illustration that doesn’t really depict anything except for maybe color and gravity and shapes—some recognizable, others not. Ropes, knobs, hooks, patches, bows, pipes, wires, strings, wads, braces, etc. Everything is very colorful and has some depth to it but it also does not have very much depth to the whole composition. It has a white background and the bottom right hand corner has illustrated water damage. Structure but no structure. Potential but precarious. Colors gleaned from the MIC. Some shapes from dissected cartoons, completely unrecognizable now. Everything happening in plain sight.







eye_roll_nice_emilysara2023.gif, 2023.
Animated gif.  

eye_roll_nice_emilysara2023.gif is an animated GIF of a recycled, repurposed image pulled from the neglected depths of the internet: a semi-smiling apple emoji with the word “nice” written beneath it. The eyes shift from blank white to briefly looking up at the viewer, then back down again. The motion echoes how people often glance at a crutch user—avoiding eye contact and focusing instead on the mobility aid. The GIF is free to take and use for any purpose by disabled people.







Glue, 2023.
Inkjet Print. 24in x 36in.

Part of the Bed Drawing Series. A digital illustration of tangled strings, holes, glue bottles (Elmers), rocks, sticks, coil-like binding, stars, digital dirt, faux off brand bricks, sickly spots, and miscellaneous vacant signs. Greens, pinks, purples, blues, muted orange, red and muddied yellows on a white background.







The two types of bed, 2023.
Inkjet Print. 18in x 24in.

Part of the Bed Drawing Series. A diptych of sorts but of the same bed, top and bottom. The first bed is on top, a blue illustration surrounded by pink balls or bubbles and being supported by two bending sticks and tape. The second bed is wrapped in strings and sticks, also being held up by a horizontal straight stick and black strings. The bottom bed feels heavier. The two images are encircled in a rope like frame and have bent, irregular circular binding (like a ring binding in a book that’s been stepped on or crushed) in the center semi joining the two sections. Nothing is functional or really makes sense. The frame bleeds off the page. Some of the shapes are harvested from the neglected corners of the internet where no one goes.







A Pink House For Me And My Friends, 2023.
Inkjet Print. 24in x 36in.

Part of the Bed Drawing Series. A large illustration of a three floor house. The house has lots of snake-like strings and tape. It’s also been cut in half like a doll house. No entry, no exit. Each floor has two beds on it but none of the beds are the same. They have cage like strings over them. The house also has blue arms and two floppy feet at the bottom. White dilapidated flags and a price tag hanging over the shingled roof, blowing in the wind. Lots of peaches, pinks, greens, and medical blues.







Untitled (Tall In The Trap 1), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. An illustration hung up on a wall with four tacks that are resin pieces of chewed up baby pink gum. The illustration is of a door wrapped in colorful rope, balancing on what looks like bricks.







Untitled (Tall In The Trap 2), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of two doors held up by tape and strings with a pile of colorful rope and a red piece of fabric balancing on top of it. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin. 







Untitled (Tall In The Trap 3), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of a bunch of rope and colorful lines being held up by black wire and cartoonish looking tape. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 4), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of half a door with rope bundles, wire, tape and general chaos. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 5), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of a large pink rope or line that is taped to the background. Over the rope or line is a chain holding up the word disabled that is covered by a red blanket. The word is written in a Disney type font. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 6), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of a door with thick colorful lines across it and an even thicker green rope line that is held up by cartoonish tape as well. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 7), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of—you guessed it—another illustrated door. It is surrounded by tape and wire and help up on faux wood like sticks. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 8), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of frowning faces taped to the wall with rope and strings about. The bottom of the illustration looks like the interior of a domestic scene with a cat-like robot in the left corner. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 9), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of two doors wrapped in lines or colorful rope. The two doors are on top of each other, like the larger door is giving a “shoulder ride” to the smaller door. Loose wire-ish string is taped to the wall, doing nothing. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 10), 2021.
Inkjet Print. 18in x 24in.

An install shot from Tall In The Trap, Rotvoll Kunstnerkollektiv, Norway, 2021. The illustration is of a giant pretzel rod-like object loosely holding three doors on strings that are also slightly resting on blue bricks. The image is held up and pinned to the wall by four pieces of chewed gum, cast in resin.







Untitled (Tall In The Trap 2) - detail

A close up shot of Untitled (Tall In The Trap 2). It shows the chewed up gum-tack in slightly better detail.







Bone Pharmacy, 2019.
Inkjet Print. 20in x 24in

An illustration of harvested imagery from the neglected depths of the internet of bones and the body, along with loosely rendered illustrations of what are supposed to be pill containers. Some imagery are skeletons, medical illustrations with water marks through them, photos of a hole, and paper plates with found illustrations of the cartoon version of a bone. Each image is entangled with an illustrated rope and weighed down by small dangly loops that are abstracted gestures of earrings. The background is a cream color and everything else is either black or grey.







Compression Socks, 2019. (detail)

A detail from the solo exhibition Compression Socks at the Anderson Gallery. A picture of three oversized saltine sculptures with dangly earrings. The saltines on the farthest ends have beads on them. The saltine in the middle has earrings with E’s on them. A light blue stripe is painted on the wall. Oversized stickers from hearing aid batteries are haphazardly zipping around the room. 






Compression Socks, 2019. (detail)

A detail from the solo exhibition Compression Socks at the Anderson Gallery. It comprises of two framed illustrations on the left—both in black and white. And a third illustration on the right which is a vinyl cut out of an illustrated door. A shower chair is available for seating in the foreground. Saltines with earrings are hanging on the wall on the right. Images of oversized hearing aid stickers dance along the wall in front of a thick blue strip that runs behind everything. The frames “pull” down the blue paint, to show tension.







Compression Socks, 2019. (detail)

A detail from the solo exhibition Compression Socks at the Anderson Gallery. Three fabricated extra large yellow potato chip-like objects hang on a wall. All three have dangly earrings, like the saltines. The beads are reminiscent of pony beads and are a variety of pinks, blues and purples. The blue line and oversized hearing aid stickers are behind the chips. 







Compression Socks, 2019. (detail)

A detail from the solo exhibition Compression Socks at the Anderson Gallery. An illustration that is cut out of vinyl is pasted to a white wall. The image is of a door with cartoon-like feet hanging from the bars in the window. A half circle sits at the bottom of the image, similar to the base of a cardboard cutout. The blue line and hearing aid stickers run through, ignoring the black vinyl illustration of the door.







Compression Socks, 2019. (detail)

A detail from the solo exhibition Compression Socks at the Anderson Gallery. A large painted animation cel from a cut out bear in thick plexiglass. The illustration has holes, indiscernible hanging items on strings and a pillow. The bear is held up by small cartoon-like bones. Images of hearing aid stickers dance on the wall alongside a thick blue stripe.







Compression Socks, 2019. (detail)

A detail from the solo exhibition Compression Socks at the Anderson Gallery. A “handicapped blue” metal button is resting on one of the shower chairs that were available for seating. The text on the button reads “this building should be accessible.” All of the buttons, except one that is laying out, are being offered to visitors in a pink kidney dish.








PoTS, 2018.
Urethane and acrylic. 11in x11in. 

Part of the Sick Food Series. A sculpture that is a large broken piece of a dorito chip. It's bright orange with texture and it is hanging on a weathered white brick wall. The piece is about eleven inches high by eleven inches wide but it is triangular.








Untitled, 2017.
Urethane and acrylic. 15in x 15in.

Part of the Sick Food Series. A sculpted, extra large saltine that is hung on a white wall. The texture is bumpy and looks lightly toasted like a saltine cracker. It is salted with real salt chunks as well. 








Untitled, 2013. 
Gouache, pencil. 24in x 36in.

A gouache painting on paper. It is in a cartoon style and is mostly black lines of a girl with a single braid. She has a droopy eye with pink eyelids being pulled down by a hook and a wishbone on a string, that is attached to her neck.








Not This Side, 2012. (detail)

An image painted directly onto a wall. It's in a cartoon-esq style. On the left is pink door without any knobs or handles. It has an illustration of a teacup balancing on top. To the right is an extra long candle that is placed inside of a cartoon heel-type shoe. To the right of that is a smaller illustration of a framed piece of wood that has two hyper-realistic resin donuts balancing on it. The door has a long stethoscope hanging on an oversized nail. The end of the rubber stethoscope is in a tangled ball.








Sorry, 2012. (detail)

An installation at Montserrat College of Art in Beverly, Massachusetts. A variety of chopped up cartoon images, back painted on a gallery window using acrylic paint. It has a medley of items including a small chair, a droopy arrow, a framed piece of wood taped up, a balloon arm with a broken necklace and cherries dangling. Everything is interconnected with a black string.







Studio work from before 2012 have been archived. Please reach out to emily@sickandtired.studio if you would like view this work.