Sarah explores imperfection, reparation, and the materiality of ceramics, using a direct method of mosaic known at 'picassiette', as well as the Kintsugi technique of repairing broken pottery. Her practice celebrates visible mending and embodies themes around the human condition, domesticity, and obsolescence. Drawing from her collection of discarded and damaged vintage crockery, she creates sculptures from a deconstructed palette of unfashionable objects, to create new narratives of playfulness and humour. In the context of contemporary interpretations of good and bad taste, the re-imagined pieces challenge conventional notions of beauty, breaking down barriers between high and low culture.