Sarah Farahat is a transdisciplinary Egyptian American cultural worker, abolitionist, and educator dreaming of a more collective future for all beings. She holds a B.A. in Psychology from Occidental College in Los Angeles, California and a B.F.A. in Intermedia Studies from Pacific Northwest College of Art in Portland, Oregon. In 2009 she trained with the historic Lincoln Recovery Center to offer the Five Point auricular acupuncture Protocol for stress, trauma and addiction. On the coattails of the Arab "spring" she participated in the inaugural year of the Homeworkspace Program with Emily Jacir, located in Beirut, Lebanon (2011-12). She received an M.F.A. in Interdisciplinary Fine Art from California College of the Arts in San Francisco, California in 2016.
Currently she is located in the stolen traditional and unceeded lands of the Multnomah, Clackamas, Kathlamet, Tualatin Kalapuya, Chinook, Molalla and many other bands and tribes that call "Portland" home. She teaches art at local colleges & universities, for kids in her community, and is a member of the Justseeds Artists' Cooperative.
For the past fourteen years Farahat has monitored the body within the socio-political landscape in the United States and abroad-intervening with works exploring grief, connection, assimilation, storytelling and engagement. Learning about and participating in grassroots struggles for liberation, abolition, and self-determination inform her work. In addition to her more traditional art and design practice, she spends her days reading speculative fiction, community organizing, working with plants, cooking, and dj-ing.
Her work lives in protests, archives, non-profit, public, physical and digital spaces including the Center for Study and Preservation of Palestine (2022), the Diasporic African Dream Anthology (2020), Hollywood Transit Center (2018), The War Memorial Veterans Building (2017), under a bridge (2017), The Oakland Museum of California (2016), Minnesota Street Projects (2016), a grassy strip between two cities (2016), Southern Exposure (2015), SmackMellon (2015), Portland, Oregon's PLACE gallery (2011), an empty office space (2007), a busy intersection in Dakar, Senegal (2007), walls in Portland (2017), L.A. (2002) and Chiapas, Mexico (2006), a digital billboard in Savannah, Georgia, (2011), on bookshelves in Beirut, Milan and Manchester (2012), in a stairwell, a restaurant and a phone booth in Beirut, Lebanon (2012), in a bustling marketplace in Torino, Italy (2012) and in a traveling imaginary archive housed temporarily at the Center for Contemporary Art in Graz, Austria (2013). Her work is online as a part of 52 Weeks of Gulf Labor with collaborator Aaron Hughes (2014), and is in the permanent collections of Just Seeds Collective: War is Trauma: 10 Years of the IVAW, the Poor People's Campaign Portfolio, the Arab American Museum Library, the Charles Voorhies Fine Art Library, The Palestine Poster Project and The Center for the Study of Political Graphics.
Her work has been featured in publications including Art Forum, The Oregonian, L'Orient Le Jour, KBOO Radio, & The Daily Star.
Currently she is located in the stolen traditional and unceeded lands of the Multnomah, Clackamas, Kathlamet, Tualatin Kalapuya, Chinook, Molalla and many other bands and tribes that call "Portland" home. She teaches art at local colleges & universities, for kids in her community, and is a member of the Justseeds Artists' Cooperative.
For the past fourteen years Farahat has monitored the body within the socio-political landscape in the United States and abroad-intervening with works exploring grief, connection, assimilation, storytelling and engagement. Learning about and participating in grassroots struggles for liberation, abolition, and self-determination inform her work. In addition to her more traditional art and design practice, she spends her days reading speculative fiction, community organizing, working with plants, cooking, and dj-ing.
Her work lives in protests, archives, non-profit, public, physical and digital spaces including the Center for Study and Preservation of Palestine (2022), the Diasporic African Dream Anthology (2020), Hollywood Transit Center (2018), The War Memorial Veterans Building (2017), under a bridge (2017), The Oakland Museum of California (2016), Minnesota Street Projects (2016), a grassy strip between two cities (2016), Southern Exposure (2015), SmackMellon (2015), Portland, Oregon's PLACE gallery (2011), an empty office space (2007), a busy intersection in Dakar, Senegal (2007), walls in Portland (2017), L.A. (2002) and Chiapas, Mexico (2006), a digital billboard in Savannah, Georgia, (2011), on bookshelves in Beirut, Milan and Manchester (2012), in a stairwell, a restaurant and a phone booth in Beirut, Lebanon (2012), in a bustling marketplace in Torino, Italy (2012) and in a traveling imaginary archive housed temporarily at the Center for Contemporary Art in Graz, Austria (2013). Her work is online as a part of 52 Weeks of Gulf Labor with collaborator Aaron Hughes (2014), and is in the permanent collections of Just Seeds Collective: War is Trauma: 10 Years of the IVAW, the Poor People's Campaign Portfolio, the Arab American Museum Library, the Charles Voorhies Fine Art Library, The Palestine Poster Project and The Center for the Study of Political Graphics.
Her work has been featured in publications including Art Forum, The Oregonian, L'Orient Le Jour, KBOO Radio, & The Daily Star.
