artmagazine “Art An Entirely New Word: Am Ender wird das Wort,” by Veronika Metzger, June 28, 2024
Hyperallergic “The Time Has Come for Artist-Mothers,” by Sophia Stewart, November 27, 2023
“The exhibition’s most memorable work, Sara Shaoul’s video “Belly” (2019), considers motherhood’s imprint on the body. Filmed on a baby monitor, Belly depicts a woman kneading the loose skin of her postpartum stomach, invoking the visual language of body horror and acting as a quasi-sequel to Mary Kelly’s 1973 video “Antepartum.” Its use of grainy nighttime surveillance footage, reminiscent of Paranormal Activity and other on-camera hauntings, suggests how mothering can alienate the artist from herself and her physical being, making her feel, perhaps, like a ghost of her former self.”
New York Times “Art We Saw This Fall", by Gillian Steinhauer, October 22, 2022
Hyperallergic “Synchronizing the Cycles of Capitalism and the Female Body,” by Sabina Khosla, October 22, 2015
“Shaoul is seeking to reveal a peculiar yet profound connection between the female body and the world it inhabits. She states, ‘The shape of profit and the pattern of loss are ingrained in our consciousness as a measure of both institutional and personal successes or failures.’ At the heart of Shaoul’s work is a sensitive attempt to prove that women’s bodies are biological vehicles of global financial change, showcasing the importance of the reproductive cycle while commenting on the inextricable connection between humanity and consumerism.”
Huffington Post Arts and Culture
"Artist Explores Disillusionment With Chase Bank," by Isa Freeling, November 24, 2014
New York Times
"Personal Ways of Untangling the Political," by Susan Hodara, November 8, 2014