sarah bricke
504/GWT

is a transdisciplinary artist, writer, and researcher working along the intersections of gender, sexuality, critical theory, and notions of the archive. her process and projects are distilled from the ways in which seemingly disparate landscapes, bodies, and processes are both distinct and inextricably linked, and how these paradoxical relationships are represented, perceived, and preserved through institutional and archival practices.

working through photographic processes, performative lecture, nonlinear narrative, and poetry, she engages in the production of objects and images as a mechanism to facilitate
dialogues around them. she is involved with making as a continual process in which things don’t become fully defined and can’t be considered completely understood or fully realized. bricke’s  work frequently utilizes fragmentary pieces or remains that can be taken apart and reconstructed, transferred into different forms, or become part of new cycles. 

ongoing artistic and research interests concern art that arises in the ruins of the built environment, artistic practitioners who create long-term and/or large-scale work without receiving recognition or institutional support, and those who make work in the face of oppression, disempowerment, or victimization. 

it will be difficult to distinguish the presentation of the work from the work itself.

the work deliberately engages the dissolution of such boundaries.

how is the documentation of the work encountered by the observer?

the work is the presentation of the work - its/it’s representation and replication via this platform.

01 working conditions
working conditions is a transmedia exploration of labor, its structures, and its lived realities, conceived as an evolving series of investigations into the systems that shape our experiences of work. Positioned at the intersection of art and labor, the project critiques the pervasive, often oppressive mechanisms that define modern working life while seeking moments of liberation, joy, and possibility within these confines. Each volume operates as both a self-contained inquiry and a piece of the broader conversation, engaging collaborators and audiences through diverse media forms, including performance, publications, and durational experiments.

working conditions operates through the tension between systemic control and individual agency. It interrogates labor across its many domains—academic precarity, historical exploitations, contemporary gig economies, and the unyielding demands of late-stage capitalism (and neofeudalism). These volumes unearth the patterns and myths underpinning labor, such as the promises of meritocracy, the allure of gilded opportunity, and the systemic inequities concealed within illusions of progress and fairness.

Through the construct of the “castle,” which recurs as both a metaphorical and literal symbol of feudal hierarchies, the project critiques the enduring power structures that replicate themselves across time. From the adjunct commuter’s circuitous toil to the fleeting spaces of potential in fairs and art markets, the works reveal the intersections of labor, class, and cultural production.


Among its core questions, working conditions asks:

Under what set of conditions (if any) is it possible to experience joy and take pleasure in work?
Are there ways to disengage from an oppressive system at some level, even while inextricably mired in it?
What liberatory potentials still exist?
What constitutes the current condition of work ?

vol.1:  Fairytales for the Serfdom of the Neofeudal Regime







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3912—21/45  quis custodiet ipsos custodes