As if peering through a gap in the trees this art work focuses on the relationship between light and dark, quarry and hunter. The colour and form of the red figure references Uccello’s practice within the late Gothic tradition and reminds us that red is the colour of fairytales, representing blood (virginity, violence, death).

As if standing in front of a green screen this mysterious figure invites us to imagine a space in which anything is possible.

Like Paolo Uccello’s Hunt in the Forest (1470), Quarry came into existence from dark to light. Uccello’s technique created a theatrical depth and drama that I wanted to capture.

In Paolo Uccello’s preparation of his wood panels for Hunt in the Forest (1470), he glued canvas over knots and scored lines into a black underlayer of paint to mark tree branches and vanishing points.

Salt is mined, extracted and evaporated. Stitching mends holes, fills in blank space. This artwork began life as the back of an unfinished needlepoint and grew into an exploration of geology and archeology.

This work started as an old needlepoint completed by an unknown sewer, that I unpicked, leaving only these trees intact. It was a way for me to look at the stage without the players.

Falling is an uncontrollable action. When we fall (over, apart, in love, asleep) we become vulnerable; quarry. Caught between spaces this figure falls headfirst and downwards.

I wanted to create a work that used just a few very strong elements to show the power of a repeated shape. I drew this grid over Uccello’s painting to reveal his mastery of perspective and as the starting point for Trace.

This conversation between Sarah Gillett and the writer Amy Lay-Pettifer digs deeper into the artist’s relationship with Paolo Uccello’s painting The Hunt in the Forest (1470) and her wider art practice.

The story of a spontaneous polaroid film collaboration with the artist Luke Harby