Cain’s unique brand of abstraction has always been highly personal, and it makes room for portraits. “They have the energy of the person,” she explains. In her depiction of Ruth Bader Ginsburg, the justice’s white lace collar becomes a string of pearls above a fan of vibrant colors; her Kamala Harris is the veep’s first name spelled out in cadmium red with hearts standing in for the three A’s. It’s hard to think of an abstract artist whose work feels so intimate. “I look at a person and see colors,” she tells me. “That’s how the portraits work. There’s a translation that is intuitive and fast.
“They have the energy of the person,” the artist says of her work. Here, Cain’s Self Portrait, 2020. The Hammer Museum curator Ali Subotnick, who put Cain in her 2019 Frieze Los Angeles show, tells me, “Sarah’s compositions may be abstract, but they cross over into some other genre because they seem animated and constantly in motion. She makes a space for viewers to move around and inside her work.” For Frieze Los Angeles, which was held on the back lot of Paramount Studios, Cain transformed a classic brownstone film set into a Cain wonderland, painting on every available surface. Later that year, her first permanent public work was unveiled—a 150-foot-long series of 37 stained-glass windows (using more than 270 colors) at the new AirTrain station at San Francisco International Airport.
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