2nd Place Winning Entry | 2025 Still Life/Florals
Sarah Siltala, “Still Life with Red-Faced Warbler,” oil. All images shared with artist’s permission.
SARAH SILTALA | 2ND PLACE
2025 STILL LIFE/FLORALS COMPETITION
Sarah Siltala’s work draws on a classical realist tradition. This, combined with a warmth and restraint that are distinctly her own, adds quiet subtlety and clarity to her work. She began her artistic practice with still life painting, learning through careful arrangements how light, form, and atmosphere can create a sense of calm.
Photography and birding eventually became part of her artistic practice, deepening her ability to observe each creature's individuality. In her recent paintings, birds often appear alongside elegant vessels, creating a gentle interplay between the natural world and human craftsmanship. The result is work that feels both intimate and expansive, built on simplicity and a commitment to beauty.
Siltala’s paintings invite viewers into a moment of stillness, an atmosphere where the wild and the domestic meet, and where harmony with nature feels not only possible but close at hand.
We talked with Siltala about the inspiration that shapes her distinctive style.
“Still Life with Plums,” oil
Tell us about your artistic journey.
I grew up in Santa Fe, surrounded by art, music, and culture. Both my parents were artists and musicians, and my creative journey began at a very young age. I spent time in my parents’ studios and traveled to art galleries and fairs. My parents taught me that art is woven through every act of creation, and my imagination was celebrated. Art, music, stories, and beauty were abundant; I never knew life without them.
When I began painting in oils, my first piece sold within weeks. Encouraged by this, I approached the Santa Fe art gallery where I had worked as a teenager. The owner welcomed me back, framed my first series of still lifes, titled and priced them, and hung them on her wall. That moment marked the beginning of my career. I exhibited at that gallery for seven years, honing my craft. The owner became a true benefactor, and I owe much of my early path to the opportunity she gave me.
You originally painted still lifes. How did you discover birds and decide to incorporate them into your paintings?
In my childhood, our home felt like a sanctuary for birds and wildlife. Tall trees, flowers, and vegetable gardens surrounded us. My father taught me to pay attention to nature, to recognize small details, and he painted birds in his art with a devotion that shaped my own. That early attention became my own passion. It threads through my art and the deep sense of connection I feel when I’m in nature, watching birds the way he once did with me.
Your paintings tend to have a large amount of empty space around your subjects. What does this represent to you?
I love this anecdote about a Japanese artist who was commissioned by an American to create a painting. The completed work only had the branch of a cherry tree with a few blossoms and a bird perched upon it in a lower corner; the rest of the painting was white. Unhappy, the American asked the artist to put something else in the painting because it looked so bare. The artist refused, explaining that if he filled up the painting, there would be no space for the bird to fly. This illustrates that space is as important as the object.
There’s a contemplative feeling to your paintings. How do you achieve this?
Stillness and moments of quiet are the ephemeral influences in my work. I try to capture that brief moment when the world stops for an instant and we become fully aware. Whether a still life or landscape, I am interested in capturing the most feeling with the least amount of busy mark-making to communicate my vision. I prefer smooth surfaces and empty space to showcase the small details I want the viewer to focus on.
I spend several weeks on each painting, patiently layering thin veils of oil paint to reveal a depth of color and luminosity that makes each work unique. This draws the viewer in to look more closely at its hidden complexity.
“Abundance,” oil
Do the ceramic decorative objects juxtaposed with images of birds have specific significance?
My father was a professional ceramic artist, a true master of porcelain and glaze. I treasure the pieces he made, and over the years I’ve collected many others; each chosen out of a deep appreciation of the craft. I’ve developed a particular love for Asian ceramics, for their subtle colors, patterns, and textures. Bringing these vessels into my work, alongside my enduring love of birds, feels deeply personal. It is a way of honoring both where I come from and what moves me most.
Siltala is represented by Meyer Gallery in Santa Fe and Collins Galleries in Cape Cod.
“Pitcher and Plums,” oil
