Sarah Green was born in London, England in 1959, and currently resides in Texas. She received her B.A. in Vocal Performance from Texas Wesleyan University in 1984. Trained in figurative drawing by her late father, Christopher Hill, Sarah studied intaglio etching, lithography and screen printing with the noted artist, Dale Conner. Conner thoroughly immersed his students in art history, as well as in traditional art and printmaking techniques. Sarah also studied photography with the late Texas Distiguished Artist,  Peter Helms Feresten. Under Feresten's extraordinary guidance, Sarah learned traditional photographic and design procedures, including using varied photographic equipment, ranging from shoebox pinhole techniques to antique 8 x 10 plate cameras to $1.00 plastic Diana range finders. Sarah apprenticed with the acclaimed painter Nancy Lamb, working with her on ceramic tile pieces and with Prismacolor pencils on large format works. Sarah also enjoyed several years working as a commercial artist for Texas Refinery Corp. and the Pate family of Fort Worth. Sarah worked from the age of 15 as a commercial artist, muralist, illustrator and sign painter before turning her full attention to her work as a portraitist. Sarah Green currently serves as Cultural Arts coordinator for the City of North Richland Hills, Texas, working with artists and musicians through the city's Art in Public Spaces program and public events. Sarah also teaches Digital Illustration at Texas Christian University.

The tonal combinations in my portraits may appear complex, but I try to hold clutter to a minimum.The closer the viewer gets to the portraits I make, the more visually intricate they become. My aim is to have vivid hues and fundamental abstraction pull together to form the sum and substance of a person, whether it is an image of a classic film idol, a pop icon or a good friend.

The finished files are output onto paper, plastic, fabric, ceramic tile, metal or glass. Much consideration is used to determine what the final work will be output onto, because the medium must suit the subject perfectly. The final result is always an exciting mix of a little bit of chance and a lot of preparation. All the files are deleted after a very limited run (usually only 7 prints or fewer), much as a printmaker will score a plate when an edition is complete.